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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
For Always
Non classifié
947
Piano & claviers
Piano seul
943
Piano, Voix et Guitare
455
Piano, Voix
381
Piano Facile
229
Orgue
48
Instruments en Do
44
1 Piano, 4 mains
32
Piano grosses notes
22
Accompagnement Piano
10
Accordéon
10
Piano Trio: piano, violon, violoncelle
6
2 Pianos, 4 mains
6
Piano (partie séparée)
4
Ligne De Mélodie, Piano
2
Orgue, Piano (duo)
2
Orgue, Trompette (duo)
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavier
1
Accordéon, Voix
1
Piano Quatuor: piano, violon, alto, violoncelle
1
1 Piano, 6 mains
1
+ 16 instrumentations
Retracter
Guitares
Guitare notes et tablatures
224
Ligne De Mélodie, (Paroles) et Accords
155
Guitare
114
Ukulele
68
Paroles et Accords
34
2 Guitares (duo)
15
Guitare (partie séparée)
8
Basse electrique
8
Piano, Guitare (duo)
6
Banjo
4
Dulcimer
3
3 Guitares (trio)
2
Cithare
1
4 Guitares (Quatuor)
1
Ensemble de guitares
1
Mandoline
1
+ 11 instrumentations
Retracter
Voix
Chorale SATB
414
Chorale 3 parties
122
Chorale 2 parties
120
Chorale TTBB
54
Chorale SSAA
32
Chorale Unison
32
Voix seule
24
Voix duo, Piano
21
Chorale
10
Voix Soprano, Piano
8
Voix duo
8
Voix Baryton, Piano
4
Voix haute
3
Voix Tenor
3
Chorale SSATTB
2
Voix Tenor, Piano
2
Voix basse
1
Voix Alto, Piano
1
Chorale SSAB a cappella
1
Chorale SSATB
1
Chorale SSAB, Piano
1
+ 16 instrumentations
Retracter
Vents
2 Saxophones (duo)
76
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
76
Quatuor de Saxophones: 4 saxophones
71
Saxophone
66
Flûte traversière
63
Flûte traversière et Piano
63
Saxophone Alto
53
Clarinette
51
Saxophone Tenor
51
Saxophone (partie séparée)
47
2 Clarinettes (duo)
47
2 Flûtes traversières (duo)
44
Saxophone Alto et Piano
43
Clarinette et Piano
42
Quatuor de Clarinettes: 4 clarinettes
34
Saxophone, Clarinette (duo)
31
Hautbois, Piano (duo)
30
Saxophone Tenor et Piano
29
Flûte, Hautbois, Clarinette, Basson
27
2 Flûtes traversières, Piano
25
Quatuor de Flûtes : 4 flûtes
23
Clarinette, Violon (duo)
21
Clarinette, Trompette (duo)
19
Quintette de Saxophone: 5 saxophones
18
Hautbois (partie séparée)
14
2 Hautbois (duo)
14
Hautbois, Flûte
13
Flûte, Clarinette (duo)
13
Flûte, Violon
13
Quintette de Clarinettes: 5 clarinettes
12
Hautbois, Clarinette (duo)
12
Flûte, Trompette (duo)
11
Ensemble de Clarinettes
11
Flûte, Saxophone (duo)
11
Hautbois, Basson (duo)
10
3 Saxophones (trio)
10
Flûte, Alto (duo)
9
3 Clarinettes (trio)
8
Trio de Flûtes: 3 flûtes
8
Ensemble de saxophones
8
Clarinette et Alto
8
Flute (partie séparée)
7
Clarinette (partie séparée)
7
Saxophone Soprano et Piano
7
Flûte et Guitare
6
Ensemble de Flûtes
5
Flûte à bec Soprano
4
Flûte, Hautbois (duo)
4
Flûte, Clarinette et Basson
4
Saxophone Baryton, Piano
3
Flûte à bec Alto
3
Flûte, Violon, Piano
3
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte à Bec
2
Cor Anglais
2
5 Flûtes à bec
2
Ocarina
2
Quatuor de Flûtes à bec
2
Flûte, Hautbois, Basson
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte à bec Alto, Piano
2
Clarinette, Guitare (duo)
2
Quintette de Flûte : 5 flûtes
2
Cor anglais, Piano
2
Hautbois
2
Clarinette, Violoncelle (duo)
1
Flûte irlandaise
1
Hautbois, violon (duo)
1
Clarinette, Trombone (duo)
1
2 Flûte à bec (duo)
1
Clarinette, Basson (duo)
1
Flûte, Hautbois, Violon
1
Cornemuse
1
Harmonica
1
Clarinette Basse
1
3 Flûtes à bec (trio)
1
3 Hautbois
1
Flûte, Harpe et Violoncelle
1
Instruments en Mib
1
Clarinette, Harpe (duo)
1
Harmonica, Piano
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Clarinette, Piano (trio)
1
Saxophone Baryton
1
Hautbois, Guitare (duo)
1
Flûte, Clarinette, Violon (trio)
1
Saxophone et Piano
1
Flûte, Violon et Violoncelle
1
Flûte, Violoncelle, Piano (trio)
1
Flûte traversière, Basse continue
1
+ 85 instrumentations
Retracter
Cuivres
Trompette
67
Trombone
62
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
55
Quatuor de Cuivres : 2 trompettes, trombone, tuba
34
Trompette, Piano
30
Trompette, Saxophone (duo)
23
Cor
22
Trombone (partie séparée)
21
2 Trombones (duo)
21
Trombone et Piano
19
Cor et Piano
19
2 Trompettes (duo)
18
Quatuor de Cuivres: 2 trompettes, Cor, trombone
17
Trompette (partie séparée)
17
Trompette, Trombone (duo)
17
Tuba
10
Quatuor de cuivres: 4 trombones
7
Euphonium
6
Cor (partie séparée)
4
Euphonium, Piano (duo)
4
Tuba (partie séparée)
4
Quatuor de cuivres: 4 cors
3
2 Cors (duo)
3
2 Tubas (duo)
3
Tuba et Piano
3
Cor Anglais
2
Trio de Cuivres
2
Quatuor de Cuivres
2
3 Trombones (trio)
2
Cor anglais, Piano
2
Instruments en Sib
1
Ensemble de Cors
1
Tuba et Orgue
1
Trombone basse et Piano
1
Bass Clef Instruments
1
Trompette, Cor (duo)
1
Instruments en Fa
1
Ensemble de Trompettes
1
3 Trompettes (trio)
1
2 Cors, Piano
1
2 Euphoniums et 2 Tubas
1
Ensemble de Trombones
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
337
Violon, Violoncelle (duo)
201
Violon
172
Trio à Cordes: violon, alto, violoncelle
140
Violon et Piano
131
Violoncelle, Piano
68
Harpe
57
Violoncelle
54
Alto, Piano
49
Alto seul
38
2 Violons (duo)
38
Trio à Cordes: 2 violons, violoncelle
31
Quintette à cordes: 2 violons, alto, violoncelle, basse
27
Violon, Alto (duo)
26
2 Violoncelles (duo)
23
2 Altos (duo)
16
Alto (partie séparée)
8
Contrebasse, Piano (duo)
8
Violon (partie séparée)
7
Contre Basse
6
Contrebasse (partie séparée)
6
2 Harpes (duo)
4
Violoncelle (partie séparée)
3
Trio à Cordes: 3 violoncelles
3
Violon, Guitare (duo)
3
Harpe, Violon (duo)
3
4 Violoncelles
3
Piano Trio: Violon, Alto, Piano
3
Trio à cordes: 3 violins
3
Alto, Orgue
2
Alto, Violoncelle (duo)
2
Violoncelle, Orgue
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à Cordes: 2 violons, alto
2
Trio à cordes: 3 altos
1
Quatuor à cordes : 4 altos
1
Alto et Basson
1
Harpe, Flûte (duo)
1
+ 33 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
378
Orchestre à Cordes
209
Ensemble Jazz
80
Orchestre
58
Ensemble de cuivres
38
Orchestre de chambre
36
Cloches
31
Fanfare
24
Batterie
12
Jazz combo
10
Ensemble de Percussions
10
Ensemble d'École
6
Batterie (partie séparée)
5
Percussion (partie séparée)
4
Marimba
2
Vibraphone
2
Percussion
1
Timbales (partie séparée)
1
Xylophone, Piano
1
Piano et Orchestre
1
+ 15 instrumentations
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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Vous avez sélectionné:
For Always
Partitions à imprimer
8 967 partitions trouvées
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8951
Shania Twain : Forever and for Always
#
Voix seule
#
FACILE
#
Rock
#
Folk Rock
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la partition Chant Forever and for Always de Shania Twain. Partition pour Avec accompagnement orchestre -- Pop/rock,Folk et Country...
(+)
Telechargez la partition Chant Forever and for Always de Shania Twain. Partition pour Avec accompagnement orchestre -- Pop/rock,Folk et Country
5.99€
Shania Twain : Forever and for Always (niveau facile/intermédiaire, guitare d'accompagnement)
#
Guitare
#
FACILE
#
Rock
#
Country
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la tablature et la partition Guitare Forever and for Always (niveau facile/intermediaire, guitare d'accompagnement) de Shania Twain. Tab pour G...
(+)
Telechargez la tablature et la partition Guitare Forever and for Always (niveau facile/intermediaire, guitare d'accompagnement) de Shania Twain. Tab pour Guitare d'accompagnement -- Pop/rock,Country
5.99€
Shania Twain : Forever and for Always (niveau facile/intermédiaire, guitare d'accompagnement)
#
Voix seule
#
FACILE
#
Rock
#
Country
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la partition Chant Forever and for Always (niveau facile/intermediaire, guitare d'accompagnement) de Shania Twain. Partition pour Guitare d...
(+)
Telechargez la partition Chant Forever and for Always (niveau facile/intermediaire, guitare d'accompagnement) de Shania Twain. Partition pour Guitare d'accompagnement -- Pop/rock,Country
5.99€
Shania Twain : Forever and for Always (niveau facile, guitare d'accompagnement)
#
Guitare
#
FACILE
#
Rock
#
Country
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la tablature et la partition Guitare Forever and for Always (niveau facile, guitare d'accompagnement) de Shania Twain. Tab pour Guitare d'...
(+)
Telechargez la tablature et la partition Guitare Forever and for Always (niveau facile, guitare d'accompagnement) de Shania Twain. Tab pour Guitare d'accompagnement -- Pop/rock,Country
5.99€
Shania Twain : Forever and for Always (niveau facile, guitare d'accompagnement)
#
Voix seule
#
FACILE
#
Rock
#
Country
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la partition Chant Forever and for Always (niveau facile, guitare d'accompagnement) de Shania Twain. Partition pour Guitare d'accompagneme...
(+)
Telechargez la partition Chant Forever and for Always (niveau facile, guitare d'accompagnement) de Shania Twain. Partition pour Guitare d'accompagnement -- Pop/rock,Country
5.99€
Shania Twain : Forever and for Always (niveau très facile, guitare d'accompagnement)
#
Guitare
#
DÉBUTANT
#
Rock
#
Country
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la tablature et la partition Guitare Forever and for Always (niveau très facile, guitare d'accompagnement) de Shania Twain. Tab pour Gui...
(+)
Telechargez la tablature et la partition Guitare Forever and for Always (niveau très facile, guitare d'accompagnement) de Shania Twain. Tab pour Guitare d'accompagnement -- Pop/rock,Country
5.99€
Shania Twain : Forever and for Always (niveau très facile, guitare d'accompagnement)
#
Voix seule
#
DÉBUTANT
#
Rock
#
Country
#
Shania Twain
#
Forever and for Always
#
Tomplay
Telechargez la partition Chant Forever and for Always (niveau très facile, guitare d'accompagnement) de Shania Twain. Partition pour Guitare d'...
(+)
Telechargez la partition Chant Forever and for Always (niveau très facile, guitare d'accompagnement) de Shania Twain. Partition pour Guitare d'accompagnement -- Pop/rock,Country
5.99€
The Music's Always There With You
#
Chorale SATB
#
Musique Sacrée
#
John Rutter
#
The Music's Always There With
#
Oxford University Press Digital
#
SheetMusicPlus
SATB choir (with divisions) and piano or chamber orchestra - Composed by John Rutter (1945-). Sheet music. Octavo. 10 pages. Oxford University Press...
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SATB choir (with divisions) and piano or chamber orchestra - Composed by John Rutter (1945-). Sheet music. Octavo. 10 pages. Oxford University Press Digital #9780193539211. Published by Oxford University Press Digital
ISBN 9780193539211.
For SATB choir (with divisions) and piano or chamber orchestra Rutter's charming piece sets a secular text by the composer that emphasises the significance of music and harmony in an ephemeral world. A simple accompaniment figure in the piano provides the backdrop to alternating unison and polyphonic verses that manage to capture both nostalgia for what was and optimism for what is to come.
$3.65
I am with you always
#
Chorale SATB
#
Musique Sacrée
#
John Rutter
#
I am with you always
#
Oxford University Press Digital
#
SheetMusicPlus
Composed by John Rutter (1945-). Sheet music. Octavo. 12 pages. Oxford University Press Digital #9780193541290. Published by Oxford University Press D...
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Composed by John Rutter (1945-). Sheet music. Octavo. 12 pages. Oxford University Press Digital #9780193541290. Published by Oxford University Press Digital
ISBN 9780193541290.
For SATB and organ. This lovely anthem sets a biblical text to a warm and flowing tune. It is suitable for use in wedding ceremonies and throughout the church year.
$3.65
Jacques Leguerney: String Quartet in D for two violins, viola and cello
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
AVANCÉ
#
Contemporain
#
Jacques Leguerney
#
II. Intermezzo
#
Jacques Leguerney: String Quar
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95
Carson Cooman: Dark December: Ignis Dei: processional doubles for mixed sextet (2002) for flute, Bb
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Dark December:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano Accompaniment,Vibraphone,Violin - Level 5 - SKU: A0.533618 Composed by Carson Cooman. Contemporary,Sacred. Sco...
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Small Ensemble Cello,Clarinet,Flute,Piano Accompaniment,Vibraphone,Violin - Level 5 - SKU: A0.533618 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 36 pages. Musik Fabrik Music Publishing #3031747. Published by Musik Fabrik Music Publishing (A0.533618). Dark December: Ignis Dei (2002) was commissioned by Maurice and Amy Katz and was written forand is dedicated to Non Sequitur. It is scored for flute, clarinet, violin, cello, vibraphone, and piano, andis subtitled “processional doubles for mixed sextet.†(The word “doubles†is used in the old sense of“variations.â€)The source material for the composition is the composer's original hymn tune DOLMEN CREEK(2002), whose text by Margaret Clarkson (Burn in Me, Fire of God) provides the Ignis Dei of thetitle and poetic conception. The poetic conception is one of an emergence of a single inner flame, amida dark landscape.The tune is never heard in its full or straightforward form – instead it is always heard in fragment ortransformation. Its formal structure also provides the dimensions and structures of the four sections.Formally, the work is cast in a single movement as a series of three processionals plus a finalglorification-postlude. The conception of the work is ritualistic in tone, and pushes forward towardsthe end.The opening processional (for the entire sextet) is very slow and distant and sets out transformations ofthe hymn tune in its most abstruse form. The second processional (for violin, cello, and vibraphone) isslightly faster and features an active and independent vibraphone part over a cortege in the two strings.The third processional (for flute, clarinet, and piano) is quick and nimble as gestures and material arepassed between the two winds, and the piano provides commentary and allusions. In this processional, afragment of the hymn is heard in its most clear form. The final glorification-postlude brings the entireensemble together again in a vibrant coda of busy activity.Carson
$24.95
Sonata for Flute (or Violin) And Piano - Opus 6
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Daniel Carr
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Sonata for Flute
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Daniel Carr
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SheetMusicPlus
Small Ensemble Flute,Piano,Violin - Level 5 - SKU: A0.918710 Composed by Daniel Carr. 20th Century,Contemporary,Romantic Period. Score and parts. 86 pag...
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Small Ensemble Flute,Piano,Violin - Level 5 - SKU: A0.918710 Composed by Daniel Carr. 20th Century,Contemporary,Romantic Period. Score and parts. 86 pages. Daniel Carr #30873. Published by Daniel Carr (A0.918710). The Sonata for Flute and Piano is the longest and most complex work I have composed for Flute and Piano. My goal for this piece was to push myself as a composer, and to push both flautist and pianist to their absolute limits – both musically and technically. The flute is capable of much more than just being pretty – and in this work it depicts violence, drama, joy, sorrow and heroism. Extended techniques are used throughout the sonata (aire, percussive tonguing, pitch bends, harmonics and flutter tonguing) but always within a tonal framework. The first movement starts out peacefully, as if beginning a legend, with a folk-like and serene melody. The second and third themes are more percussive and rhythmical – the flute and piano engaging in a violent, interlaced dance in a section marked Allegro Swordfight. In the recapitulation, the first theme reappears in much more dramatic form. The second movement begins with a forceful march before a darker and more cabalistic middle section emerges. The movement builds to a formidable climax in the final measures. The third movement begins simply and quietly, offering a respite from the energy of the first two movements, and quoting themes from both of them. It then leads attacca (without pause) into the final movement, which surges forward relentlessly before a lyrical section provides the flute an opportunity to soar above wave-like arpeggios in the piano. The piece ends on an ethereal note, with flute and piano hovering near silence in their upper ranges.
$10.00
God Eternal, Always and Forever
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Gregg Sewell
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God Eternal, Always and Foreve
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Sacred Music Press
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SheetMusicPlus
SATB choir (divisi) and organ - Intermediate SKU: LO.10-1942S Composed by Gregg Sewell. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/1942S. Publ...
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SATB choir (divisi) and organ - Intermediate SKU: LO.10-1942S Composed by Gregg Sewell. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/1942S. Published by Sacred Music Press (LO.10-1942S). UPC: 000308044911.A galvanizing sermon-inspired text provides the vision for this joyous anthem, extolling the ever-present God in our lives. The energetic organ accompaniment impels the choral forces to their exuberant finale. Thrilling.
Song List
: God Eternal Always And Forever
$2.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste
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Luis Anjos Teixeira
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Con...
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Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$10.99
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
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