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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
A
Non classifié
5 360
Piano & claviers
Piano seul
6 940
Piano Facile
954
Piano, Voix
907
Orgue
335
Piano, Voix et Guitare
246
1 Piano, 4 mains
107
Piano Trio: piano, violon, violoncelle
54
Instruments en Do
53
2 Pianos, 4 mains
48
Accordéon
24
Accompagnement Piano
24
Piano Quatuor: piano, violon, alto, violoncelle
22
Piano Quatuor: piano, 2 violons, violoncelle
16
Clavecin
12
Orgue, Trompette (duo)
7
Piano Quintette: piano, 2 violons, alto, violoncelle
6
Orgue, Piano (duo)
6
Piano grosses notes
5
2 Pianos, 8 mains
5
2 Accordéons
3
Accordéon et Orchestre
2
1 Piano, 6 mains
2
Clavier
2
2 Orgues (duo)
1
Accordéon, Corde(s)
1
Fake Book
1
+ 21 instrumentations
Retracter
Guitares
Guitare
522
Guitare notes et tablatures
368
Ligne De Mélodie, (Paroles) et Accords
88
Basse electrique
59
2 Guitares (duo)
43
Ukulele
41
Piano, Guitare (duo)
30
4 Guitares (Quatuor)
30
3 Guitares (trio)
14
Dulcimer
12
Ensemble de guitares
8
Paroles et Accords
5
Mandoline
3
Banjo
3
Mandoline, Guitare (duo)
2
Guitare, Violon, Violoncelle (trio)
2
Guitare Pedal Steel
1
Guitare, Quatuor à cordes
1
2 Dulcimers (duo)
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
1 786
Chorale TTBB
805
Chorale 3 parties
423
Chorale SSAA
292
Chorale 2 parties
263
Voix duo
117
Chorale
106
Chorale Unison
80
Voix Soprano, Piano
50
Voix duo, Piano
40
Voix haute
34
Voix Baryton, Piano
27
Voix moyenne, Piano
22
Voix seule
19
Pack Instrumental pour Chorale
14
Voix Tenor, Piano
11
Voix Alto, Piano
11
Chorale SSAATTBB
10
Soli, choeur mixte et accompagnement
7
Voix Tenor
7
Chorale SSATB
6
Voix basse, Piano
5
Chorale SSATTB
5
Chorale SSAB a cappella
2
Male Voice
1
Voix basse
1
Voix Moyenne
1
Voix Soprano, Orchestre
1
Chorale SATBB
1
Chorale SSAATB
1
Chorale SATTBB A Cappella
1
Chorale SAATB A Cappella
1
Voix duo, Orgue
1
Chorale SSAATB A Cappella
1
+ 29 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
505
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
374
Flûte, Hautbois, Clarinette, Basson
334
Flûte traversière et Piano
324
Clarinette et Piano
252
Quatuor de Clarinettes: 4 clarinettes
226
Clarinette
202
Saxophone Alto et Piano
200
Flûte traversière
198
Hautbois, Piano (duo)
187
Saxophone Alto
130
Saxophone Tenor et Piano
128
Flûte et Guitare
124
Saxophone Tenor
113
Saxophone (partie séparée)
107
Ensemble de Clarinettes
101
Quatuor de Flûtes : 4 flûtes
97
Quintette de Saxophone: 5 saxophones
96
2 Flûtes traversières (duo)
94
Hautbois (partie séparée)
90
2 Clarinettes (duo)
88
Saxophone Soprano et Piano
74
2 Saxophones (duo)
69
Clarinette, Guitare (duo)
68
3 Clarinettes (trio)
64
Ensemble de Flûtes
53
3 Saxophones (trio)
52
Quintette de Clarinettes: 5 clarinettes
51
Ensemble de saxophones
46
Trio de Flûtes: 3 flûtes
43
Flûte, Clarinette (duo)
36
Clarinette, Harpe (duo)
34
Flûte, Clarinette et Basson
27
Flûte, Violon, Piano
23
Quintette de Flûte : 5 flûtes
21
Cor anglais, Guitare (duo)
19
Hautbois, Basson (duo)
19
Saxophone et Guitare
17
Flûte, Violon
17
2 Flûte à bec (duo)
16
Clarinette, Basson (duo)
16
Flûte, Hautbois, Clarinette (trio)
14
Cor anglais, Piano
13
Hautbois, Clarinette, Basson (trio d'anches)
13
Clarinette, Violon (duo)
12
Hautbois, Flûte
12
Flûte, Violoncelle
11
2 Hautbois (duo)
10
Saxophone Baryton, Piano
10
Saxophone, Clarinette (duo)
9
Clarinette, Violoncelle, Piano (trio)
9
Hautbois, Guitare (duo)
9
Flûte, Violon et Violoncelle
8
Saxophone et Piano
8
Flûte, Saxophone (duo)
8
2 Flûtes traversières, Piano
8
Flûte, Clarinette, Piano (trio)
8
Clarinette et Alto
7
Hautbois, Clarinette (duo)
7
2 Saxophones, Piano
7
Flûte à bec Soprano, Piano
7
Clarinette Basse, Piano
7
Clarinette, Violoncelle (duo)
7
Cor Anglais
6
2 Clarinettes, Basson
6
Flûte à Bec
6
Clarinette (partie séparée)
6
Flûte, Violoncelle, Piano (trio)
6
Ensemble De Flûte à bec
6
Hautbois
6
Flûte à bec Soprano
5
Quatuor de Flûtes à bec
5
Saxophone
5
Flûte, Hautbois, Basson
5
Flûte, alto et harpe
5
Flûte, Violon, Violoncelle et Piano
5
Flûte, Alto (duo)
5
Flute (partie séparée)
5
Flûte, Basson et Piano
5
Flûte, Hautbois, Violon
4
Clarinette, Trompette (duo)
4
Flûte, Trompette (duo)
3
Clarinette, Orgue
3
Hautbois, Violoncelle et Piano
3
Saxophone et Orgue
3
3 Flûtes à bec (trio)
3
Flûte, Hautbois, Piano (trio)
3
Ensemble à vent
3
5 Flûtes à bec
2
2 Cors Anglais Et Pianoforte
2
Flûte, Alto et Piano
2
Flûte, Tuba (duo)
2
Flute, harpe et violon
2
Piccolo
2
2 Clarinettes, Piano
2
Flûte à bec, Guitare (duo)
2
Harmonica
2
3 Hautbois
2
Flûte à bec Alto
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
3 Flûtes à bec, Piano
1
Flûte et Trio à cordes
1
Flûte, Clarinette, Violon (trio)
1
Clarinette, trompette et piano
1
Cor anglais et Harpe (duo)
1
Flûte, Hautbois (duo)
1
Hautbois, Basson et Piano
1
Flûte à bec Alto, Piano
1
Flûte, Harpe et Violoncelle
1
Hautbois, Violoncelle
1
Flûte, Violoncelle, Guitare
1
Flûte traversière, Orgue (duo)
1
Clarinette, Orchestre
1
Piccolo, Piano
1
Saxophone, Violon (duo)
1
Clarinette, Tuba
1
Hautbois et Orchestre
1
Clarinette, Trombone (duo)
1
Hautbois, Violon, Piano
1
Saxophone Soprano
1
Flûte, Trombone (duo)
1
Hautbois, Orgue
1
Saxophone, Tuba (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
+ 119 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
414
Quatuor de Cuivres : 2 trompettes, trombone, tuba
408
Trompette, Piano
185
Trombone et Piano
141
Trompette
130
Trombone
110
Cor et Piano
99
Cor
75
Tuba
51
Quatuor de Cuivres: 2 trompettes, Cor, trombone
46
Euphonium
42
Quatuor de cuivres: 4 trombones
38
Euphonium, Piano (duo)
34
2 Trompettes (duo)
34
Trompette (partie séparée)
29
Tuba et Piano
28
2 Trombones (duo)
24
Ensemble de Trombones
21
Trompette, Saxophone (duo)
19
Quatuor de Cuivres
19
Cor anglais, Guitare (duo)
19
Quatuor de cuivres: 4 cors
15
2 Cors (duo)
14
Trompette, Trombone (duo)
14
Cor anglais, Piano
13
Trio de Cuivres
12
3 Trombones (trio)
12
2 Tubas (duo)
8
Trombone basse
7
Euphonium, Tuba (duo)
7
Cor Anglais
6
Trombone, Tuba (duo)
6
2 Euphoniums et 2 Tubas
5
Trombone, Orgue
5
Ensemble de Cors
5
2 Trompettes, Clavier (piano ou orgue)
4
3 Trompettes (trio)
4
Trombone basse et Piano
3
Ensemble de Trompettes
3
Trompette, Tuba (duo)
3
Trombone et orchestre
3
Quatuor de cuivres: 4 trompettes
3
2 Cors Anglais Et Pianoforte
2
Tuba (partie séparée)
2
3 Cors (trio)
2
2 Trombones, Piano
2
Trombone (partie séparée)
2
4 Tubas
2
Trompette, Violoncelle et Piano
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Cor (partie séparée)
2
Trompette, violon (duo)
1
Trompette, Cor (duo)
1
3 Euphoniums
1
Cor anglais et Harpe (duo)
1
2 Cors, Piano
1
Clarinette, Cor (duo)
1
2 Euphoniums (duo)
1
Cor et Harpe
1
Trombone, Violon (duo)
1
Trompette, Trombone, Piano
1
+ 57 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1 223
Harpe
704
Violon et Piano
392
Violon
306
Violoncelle, Piano
202
Violoncelle
190
Alto, Piano
162
Trio à Cordes: violon, alto, violoncelle
129
Violon, Violoncelle (duo)
97
Harpe, Flûte (duo)
93
Alto seul
69
Violon, Guitare (duo)
56
2 Violons (duo)
54
Violoncelle , Guitare (duo)
45
Contrebasse, Piano (duo)
44
Alto (partie séparée)
42
Violon, Alto (duo)
40
Contre Basse
39
2 Violoncelles (duo)
34
Harpe, Violon (duo)
34
Piano Trio: Violon, Alto, Piano
26
4 Violoncelles
24
Alto, Guitare (duo)
22
Trio à Cordes: 2 violons, violoncelle
22
Quintette à cordes: 2 violons, alto, violoncelle, basse
22
Violoncelle, Contrebasse (duo)
18
Trio à cordes: 3 violins
17
2 Altos (duo)
17
Violon (partie séparée)
15
Trio à Cordes: 3 violoncelles
11
Alto, Violoncelle (duo)
10
2 Harpes (duo)
9
Trio à Cordes: 2 violons, alto
6
2 Contrebasses (duo)
6
Violon, Clarinette, Piano (trio)
5
Violoncelle, Orchestre
4
Flûte, Contrebasse (duo)
4
Harpe, Violoncelle (duo)
4
Violoncelle, Orgue
4
2 Violoncelles, Piano
4
3 Harpes
4
Violon, Orgue
3
2 Violons, Piano
3
Contrebasse (partie séparée)
3
Harpe, Quatuor à cordes
3
4 Contrebasses
3
Quatuor à cordes : 4 altos
3
Trio à cordes: 3 altos
3
Harpe, Voix
2
Quatuor à cordes: 4 violons
2
Trio à cordes
1
Violoncelle (partie séparée)
1
2 Altos, Piano
1
Ensemble de Violoncelles
1
Harpe, Trombone (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
3 Contrebasses
1
Alto et orchestre
1
+ 53 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
947
Orchestre
628
Ensemble de cuivres
591
Orchestre à Cordes
567
Ensemble Jazz
231
Orchestre de chambre
217
Ensemble de Percussions
177
Batterie
85
Cloches
71
Jazz combo
67
Fanfare
61
Marimba
24
Vibraphone
11
Xylophone
5
Piano et Orchestre
3
Percussion (partie séparée)
3
Xylophone, Piano
3
Xylophone ou Marimba ou Vibraphone
3
Quintette à Vent
2
3 Percussions
2
3 Marimbas
1
Xylophone (partie séparée)
1
Quatuor à Vent : 4 instruments à vents
1
2 Marimbas
1
Instrumentation Flexible
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Big band
1
Marimba et Orgue
1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
2 Percussions
1
+ 26 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
Tri et filtres :
--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
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
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PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
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MEDIEVAL - RENAISSAN…
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METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
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SOUL - R&B - HIP HOP…
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9976
A Cappella! Volume III - SSA Choral Edition
Chorale 3 parties
SSA chorus a cappella - Digital Download 9 Selections for Concert and Festival. Compo…
(+)
SSA chorus a cappella - Digital Download 9 Selections for Concert and Festival. Composed by Ruth Elaine Schram, Amy F Bernon, and Victor C Johnson. General. Sing! Octavo. 48 pages. Chorister\'s Guild #CGE293. Published by Chorister\'s Guild
CHORAL EDITION (Not repoducible; Rehearsal Resource Pages not included) Volume III in the popular A Cappella! series features nine concert and festival selections for young and developing SSA choirs from creative writers Amy F. Bernon, Victor C. Johnson and Ruth Elaine Schram. The Complete Edition is reproducible and also includes a Rehearsal Resource Page for each piece, a unique and valuable teaching/rehearsal tool which features Solfege; Vocabulary; and Preparation and Extension activities, carefully crafted for each selection by Victor C. Johnson. The Choral Edition, ideal for use as a judge\'s copy or for your singers, is not reproducible and the Rehearsal Resource Pages are not included. Comprised of one spiritual arrangement, three folk song arrangements and five original selections in a variety of styles, this collection is an exceptional value and a great resource for your music library.CHORAL EDITION (Not repoducible; Rehearsal Resource Pages not included) Volume III in the popular A Cappella! series features nine concert and festival selections for young and developing SSA choirs from creative writers Amy F. Bernon, Victor C. Johnson and Ruth Elaine Schram. The Complete Edition is reproducible and also includes a Rehearsal Resource Page for each piece, a unique and valuable teaching/rehearsal tool which features Solfege; Vocabulary; and Preparation and Extension activities, carefully crafted for each selection by Victor C. Johnson. The Choral Edition, ideal for use as a judge\'s copy or for your singers, is not reproducible and the Rehearsal Resource Pages are not included. Comprised of one spiritual arrangement, three folk song arrangements and five original selections in a variety of styles, this collection is an exceptional value and a great resource for your music library.
$9.95
9.17 €
#
Chorale 3 parties
#
Ruth Elaine Schram, Amy F Bernon, and Victor C Johnson
#
A Cappella! Volume III - SSA Choral Edition
#
Chorister\'s Guild
#
SheetMusicPlus
Lucky, Duet plus SATB A Cappella
Chorale SATB
Choir, SATB, SATB plus Duet, A Cappella - Intermediate - Digital Download By Jason Mr…
(+)
Choir, SATB, SATB plus Duet, A Cappella - Intermediate - Digital Download By Jason Mraz & Colbie Caillat. Arranged by Matthew Udland. Octavo. 10 pages. Published by Midwest A Cappella
Here's a fun, upbeat love song that is sure to bring a smile to your singers and your audience. It features a duet and SATB a cappella underneath with plenty of sensible rhythms when the piece is put together. Your students will love it!Here's a fun, upbeat love song that is sure to bring a smile to your singers and your audience. It features a duet and SATB a cappella underneath with plenty of sensible rhythms when the piece is put together. Your students will love it!
$2.49
2.3 €
#
Chorale SATB
#
Jason Mraz & Colbie Caillat
#
Matthew Udland
#
Colbie Caillat
#
Lucky, Duet plus SATB A Cappella
#
Midwest A Cappella
#
SheetMusicPlus
Husavik (My Hometown) - TTBB a capella
Chorale TTBB
TTBB a capella - Intermediate - Digital Download By Will Ferrell And Molly Sanden. Ar…
(+)
TTBB a capella - Intermediate - Digital Download By Will Ferrell And Molly Sanden. Arranged by Bragi Thor Valsson. Score. 5 pages. Published by Bragi Thor Valsson
An arrangement of the song Husavik from the movie Eurovision Song Contest: The Story of Fire Saga. Arranged for male choir (TTBB) a capella. The melody alternates between bass 1 and tenor 1.<br> <br> Please note that the Icelandic parts of the song are pronounced in correct Icelandic in the demo (see YouTube video), not as the singer in the "Story of Fire Saga" recording pronounces the Icelandic. Also note that the demo is a recording of the "TTBB and piano" version of the arrangement, which is very similar to the a capella version in terms of the vocal parts. A major difference is that the intro is sung in the a capella arrangement.<br> <br> <br> You are welcome to send any queries or comments to the arranger by email: bragithorvalsson@gmail.comAn arrangement of the song Husavik from the movie Eurovision Song Contest: The Story of Fire Saga. Arranged for male choir (TTBB) a capella. The melody alternates between bass 1 and tenor 1.<br> <br> Please note that the Icelandic parts of the song are pronounced in correct Icelandic in the demo (see YouTube video), not as the singer in the "Story of Fire Saga" recording pronounces the Icelandic. Also note that the demo is a recording of the "TTBB and piano" version of the arrangement, which is very similar to the a capella version in terms of the vocal parts. A major difference is that the intro is sung in the a capella arrangement.<br> <br> <br> You are welcome to send any queries or comments to the arranger by email: bragithorvalsson@gmail.com
$2.99
2.76 €
#
Chorale TTBB
#
Will Ferrell And Molly Sanden
#
Bragi Thor Valsson
#
Husavik
#
Bragi Thor Valsson
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SheetMusicPlus
Destiny For A New
Orchestre
Full Orchestra - Advanced - Digital Download Composed by Joshua A. Idio. 21st Century…
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Full Orchestra - Advanced - Digital Download Composed by Joshua A. Idio. 21st Century, 20th Century, Romantic Period, Contemporary Classical, Repertoire. Score, Set of Parts. 85 pages. Published by Joshua A. Idio
Composed by Joshua A. Idio. (ASCAP Licensed) Orchestral Music. Concert Opener music. Full score and parts.<br> <br> Symphony Orchestra - Grade 5<br> Motivational and Exhilarating! This grand “movie-esque” scoring sends the audience through a heart-pounding epiphany of song and soul. With its use of moving melodies, surprising rhythms, and evocative instrumentation, the courage to take on the world has never felt more achievable. The inspiring begins now!Composed by Joshua A. Idio. (ASCAP Licensed) Orchestral Music. Concert Opener music. Full score and parts.<br> <br> Symphony Orchestra - Grade 5<br> Motivational and Exhilarating! This grand “movie-esque” scoring sends the audience through a heart-pounding epiphany of song and soul. With its use of moving melodies, surprising rhythms, and evocative instrumentation, the courage to take on the world has never felt more achievable. The inspiring begins now!
$125.00
115.24 €
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Orchestre
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Joshua A
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Destiny For A New
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Joshua A. Idio
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SheetMusicPlus
Messa a 4 voci
Chorale SATB
Mixed choir (SATB) a cappella - intermediate - Digital Download For mixed choir (SATB…
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Mixed choir (SATB) a cappella - intermediate - Digital Download For mixed choir (SATB) a cappella. Composed by Nino Rota (1911-1979). This edition: score. Chormusik. Downloadable. Duration 12 minutes. Schott Music - Digital #Q46984. Published by Schott Music - Digital
Nino Rota's Mass was composed in Rome in 1962, the very same year when the Second Vatican Council formally opened in 1962, whose fundamental changes regarding the use of liturgical music directly found expression in Rota's work: As a result, the anticipation of Christmas was to be expressed by pure a cappella works without accompaniment in the Advent season.Nino Rota's Mass was composed in Rome in 1962, the very same year when the Second Vatican Council formally opened in 1962, whose fundamental changes regarding the use of liturgical music directly found expression in Rota's work: As a result, the anticipation of Christmas was to be expressed by pure a cappella works without accompaniment in the Advent season.
$7.99
7.37 €
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Chorale SATB
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Nino Rota
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Messa a 4 voci
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Schott Music - Digital
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SheetMusicPlus
When I Need A Friend (Contemporary A Cappella Choir)
Chorale SATB
Choir, SATB, A Cappella Contemporary SSATB - Early Intermediate - Digital Download …
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Choir, SATB, A Cappella Contemporary SSATB - Early Intermediate - Digital Download By Coldplay. Arranged by Dodo versino. Score. 6 pages. Published by Preludio s.r.l.
Dodo Versino and the guys from "il coro che non c'è" shocked the web with their version of the single "When I Need a Friend" by Coldplay. Preludio present you the score of the arrangment for acappella choir or small vocal ensemble SATB.Dodo Versino and the guys from "il coro che non c'è" shocked the web with their version of the single "When I Need a Friend" by Coldplay. Preludio present you the score of the arrangment for acappella choir or small vocal ensemble SATB.
$4.90
4.52 €
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Chorale SATB
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Coldplay
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Dodo versino
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When I Need A Friend
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Preludio s.r.l.
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SheetMusicPlus
The Windmills Of Your Mind - SSA Choir A Cappella
Chorale 3 parties
SSA, a cappella - Advanced Intermediate - Digital Download By Noel Harrison. Arranged…
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SSA, a cappella - Advanced Intermediate - Digital Download By Noel Harrison. Arranged by Natalie Goossens. Score. 8 pages. Published by Natalie Goossens
A dreamy song of the French composer Michel Legrand.<br> <br> The song is also knownin French as ‘Les moulins de mon cœur’. Noel Harrison sung the firstEnglish version for the 1968 movie The Thomas Crown Affair. It won the Oscarfor best song in 1968. The song has become a standard, covered by more than 80recording artists. I was also inspired by the version of Alison Moyet.<br> A beautiful, timeless song for your concert program. For youth choirs andconcert choirs.<br> <br> Duration: 3'00"A dreamy song of the French composer Michel Legrand.<br> <br> The song is also knownin French as ‘Les moulins de mon cœur’. Noel Harrison sung the firstEnglish version for the 1968 movie The Thomas Crown Affair. It won the Oscarfor best song in 1968. The song has become a standard, covered by more than 80recording artists. I was also inspired by the version of Alison Moyet.<br> A beautiful, timeless song for your concert program. For youth choirs andconcert choirs.<br> <br> Duration: 3'00"
$1.99
1.83 €
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Chorale 3 parties
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Noel Harrison
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Natalie Goossens
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The Windmills Of Your Mind - SSA Choir A Cappella
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Natalie Goossens
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SheetMusicPlus
Gitanos andaluces for clarinet in A.
Clarinette
Clarinet in A - Advanced - Digital Download By Paco de Lucia. Arranged by M. Contreras. …
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Clarinet in A - Advanced - Digital Download By Paco de Lucia. Arranged by M. Contreras. 5 pages. Published by M. Contreras
Transcription of the flamenco tune for clarinet in A.Transcription of the flamenco tune for clarinet in A.
$4.99
4.6 €
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Clarinette
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Paco de Lucia
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M
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Gitanos andaluces for clarinet in A.
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M. Contreras
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SheetMusicPlus
Sonata in a Simple Scale for Viola and Piano
Alto, Piano
Piano,Viola - Level 4 - Digital Download SKU: A0.1032818 Composed by Daniell Matter…
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Piano,Viola - Level 4 - Digital Download SKU: A0.1032818 Composed by Daniell Mattern. Contemporary. Score and part. 58 pages. Daniell Mattern #5721229. Published by Daniell Mattern (A0.1032818). Sonata in a Simple Scale for Viola and PianoThe Simple Scale of the title is a series of alternating whole steps and half steps. There are three versions; any particular note will belong to two of the three. Thus, the two scales that include C go up either a whole step from C (C D Eb F F#…) or a half step (C C# D# E F#…); the third scale excludes C entirely (B C# D E F…). These scales allow for a variety of melodies, which often take on a modal character, and familiar chords, including major, minor, and diminished.Although the scale is simple, the Sonata is not for elementary players. The viola range goes to the C two octaves above middle C and there are occasional double and triple stops and stopped harmonics, and frequent meter changes. Also, the unusual scale does not fit the standard fingering patterns for either instrument. That said, the sonata is intended to be enjoyable for proficient, rather than virtuosic, players.In the introduction to the Sonata-Allegro movement, the viola explores motives and intervals, with subtle embellishment from the piano. These phrases build to a three-octave descending presentation of the simple scale; a trill then leads into the main theme. The piano sets up a jaunty accompaniment pattern, over which the viola plays the theme in measure-long segments. The second theme is a long, legato line in the viola that spans two octaves. The viola then sets up a two-measure ostinato, joined by a lumbering piano bass, before the piano treble floats on top with a melancholy closing theme. The development section plays mostly with the main theme, shifting meters as the two instruments engage in dialog. A bridging trill takes us into the recapitulation, but now the viola plays the jaunty accompaniment pattern, and the piano has the main theme. After the return of the second theme, varied in its accompaniment, the piano presents the ostinato of the closing theme, and the viola takes the melody, leading to a quiet and playful finish.In the second movement (Song), the piano begins a slow, rather dark theme, joined by the viola, and ending in a rising question that leads into the second section. Presented simply by the viola, this lilting 7/8 theme has a folk-song quality. It is repeated and embellished several times before the first theme returns, ending in a loud and angry exclamation.The Scherzo is a 6/8 whirlwind. The viola presents rapid repeated notes punctuated with three rising or falling notes; the piano enters gradually until both are giving a forceful statement. In the middle section, the viola sets up a whirling pattern with a drone, while the piano plays a dark version of the closing theme from the first movement. The first theme returns and the movement gallops to a rapid finish.The Rondo begins with an introduction that explores octaves and trills, leading into the main theme, with slightly dissonant 4/4 viola measures alternating with 7/8 answers in the piano. Bridging measures in 5/8 take us into a relaxed, waltz-like interlude of solo viola. A fast section with a touch of fugato follows, with the main theme presented in diminution by the viola at the end. This leads into a second interlude, this one exploring octaves, trills, and clusters in unmetered fragments that the instrumentalists play at their own tempos. The viola then emerges with a confident new theme, joined after a while by the piano. The main theme then returns in a rollicking 3/4 version that brings the piece to a close.
$8.00
7.38 €
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Alto, Piano
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Daniell Mattern
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Sonata in a Simple Scale for Viola and Piano
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Daniell Mattern
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SheetMusicPlus
Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.799741 Composed by Nikolay An…
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String Orchestra - Level 4 - Digital Download SKU: A0.799741 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Grant Gilman. 20th Century,Romantic Period. Score and parts. 147 pages. Dr. Grant Gilman #3511981. Published by Dr. Grant Gilman (A0.799741). Nikolai Rimsky-Korsakov Scheherazade - I. The Sea and Sinbad’s Ship Pick-A-Part Arrangement for String Orchestra by Dr. Grant Gilman String Orchestra Parts in This Pick-A-Part Arrangement Violin 1A Violin 1B Violin 1C Violin 2A Violin 2B Violin 2C Viola A Viola B Viola C Cello A Cello B Cello C Bass A Bass B Bass C Harp/Keyboard (optional)About Pick-A-Part Arrangement This arrangement system employs simultaneous, multi-level difficulty parts for each string section. The goal is to accommodate all levels of playing in the preparation and performance of a symphonic masterwork. In this arrangement, there are 3 difficulty levels for each individual string section, labeled A, B, and C, respectively. Each level is a decreasing level of technical and musical difficulty, level A being the highest level of difficulty. The A level is close to, if not exactly the same as, the original string part, plus the integration of wind parts when applicable. B and C follow in a proportional reduction of difficulty level. For this solution to be most effective, some students should be encouraged to play the most challenging parts simultaneously with those playing the simpler parts. This presents the opportunity to participate in a performance that includes most of the original material. The B and C parts cover enough of the surface material while maintaining a modicum of independence from the A part. In other words, the B and C parts are able to hold their own in performance without the A parts. For example, let’s say you have a couple of talented violinists and a few more that are well below their playing level, only two violists that need a great deal of help, a plethora of cellists with a wide range of abilities, and one single bass player that is a beginner. Your distribution of parts may look something like this: Violin 1 - two on Violin 1A, one on Violin 1C, and the rest on Violin 1B Violin 2 - one on Violin 2B, the rest on Violin 2C Viola - both on Viola C Cello - three on Cello A, one on Cello B, and the rest on Cello C Bass - one on Bass C This potential setup will challenge each player at their current level of development while creating the context for a moving experience with a major orchestral work. A Note about the Score and Printing The full score is designed to be printed in portrait orientation on 17x11 tabloid size paper. Even at this size, the score can be confusing to read, especially if you are not covering every difficulty level part. If you would like a custom score showing only the parts you are using, please email me: conductor@grantgilman.com. I will be happy to work with you!www.grantgilman.comwww.americanmusepodcast.com
$29.99
27.65 €
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Orchestre à Cordes
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Nikolay Andreyevich Rimsky-Korsakov
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Grant Gilman
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Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
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Dr. Grant Gilman
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SheetMusicPlus
A Prayer and a Prelude
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1029559 Composed by Peter Daniel Kl…
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Piano Solo - Level 3 - Digital Download SKU: A0.1029559 Composed by Peter Daniel Klein. 20th Century,Contemporary. Score. 6 pages. Peter Daniel Klein #5307267. Published by Peter Daniel Klein (A0.1029559). I have written a programmatic, neo-romantic/post-romantic prose and musical fragment/miniature based on Schlegel's writings about a Hedgehog. Fragment in the sense that it is not fully developed, yet, in another sense, it is overdeveloped for its length. There are several modern elements in that it is bitonal at one point. At another point, I pit Scriabin's mystic chord, which is his synthetic mode, against what I feel is its nearest aeolian mode, c-minor, which is modernistically dissonant. It is written in 'classicized' AABA popular song form, which is perfect for a miniature. It revolves around the programmatic, free verse' Prayer,' a plea to God for sleep, elusive due to the mourning of lost love and the associated emptiness and grief felt deep in the night. It is motivic in that there is a repeated augmented 6 to a half-diminished cadence that introduces the theme and then serves to transition each small section, in a secondary dominant style repetition until reaching tonic. -A1 is a simple statement of the linear theme and harmony in 6ths, and 9ths, almost in keeping with the introductory and transitionary cadence, at least intervallically. -A2 is a restatement of that theme with an added countermelody (which becomes the subject of section B) woven between the upper linear melody and the altered bass accompaniment. -B begins with a short statement of the countermelody bi-tonally, the left hand in c minor, the right in g minor. There is a brief transposition between several keys, bitonally, while the sostenuto pedal holds a pedal tone until it attenuates completely. The two measures build from repressed despondency to rage, as strong emotions often do, quickly turning to dissonant chaos. The dynamics and intensity build to a diminished chord whose top note moves up half a step to a Scriabin mystic chord arpeggio. The held sustain pedal melds the dissonance together with emotional tumult, which fades as quickly as it came, as outbursts often do. -A3 starts with the motivic cadence and a deep bass pedal tone. This section is the crowning moment in the piece. In sixths, the macabre accompaniment moves to the right-hand upper tessitura as the more developed 'A' melody moans below in the bass and baritone as the music ebbs away. A simple c-minor arpeggio strains against a very similar Scriabin mystic chord arpeggio, an octave or a minor seventh apart, ending on an A major and A flat in sweet, gentle, unresolved dissonance against a dying root pedal tone, the final teardrop.
$4.99
4.6 €
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Piano seul
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Peter Daniel Klein
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A Prayer and a Prelude
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Peter Daniel Klein
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SheetMusicPlus
Rondo in A minor for Viola and Orchestra
Orchestre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.723062 Composed by Joel Jack…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.723062 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 154 pages. Joel Jacklich #2075161. Published by Joel Jacklich (A0.723062). This is an arrangement by the composer of his Rondo in A minor (originally written for Guitar and Orchestra) for Viola and Orchestra. There is also a version arranged for Cello and Orchestra. In October, 2014, after my most recent commission, the creative juices were still flowing, and I felt the urge to write a work for guitar and orchestra (which I had always wanted to do, partly inspired by the memories Pepe Romero's performances with my orchestra forty years earlier). Amazingly, within two days I had, except for a few minor corrections, a completed work. The result was the Rondo in A minor for Guitar and Orchestra, which I dedicated to my friend, Sir Pepe Romero, with the greatest respect and admiration. In December of 2014, I realized the work was easily accessible for either viola or cello and created versions of the piece for solo cello and orchestra, and also a version for solo viola and orchestra. The work is rondo-like in form, but does not strictly follow all the rules. The form of the work is a kind of a musical palindrome: A B A C A D A C A B A (including a cadenza in the final rondo statement). The presence of castanets gives the work a bit of a Spanish flair. The piece is scored for pairs of flutes, oboes, clarinets in A, bassoons, horns, and trumpets in C; with timpani, castanets, and strings (8,8,5,5,3). Parts for clarinets and trumpets in B-flat are included in the set for those orchestras lacking clarinets in A or trumpets in C.
$65.00
59.92 €
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Orchestre
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Joel Jacklich
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Joel Jacklich (ASCAP)
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Rondo in A minor for Viola and Orchestra
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Joel Jacklich
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SheetMusicPlus
Rondo in A minor for Cello and Orchestra
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.723064 Composed by Joel Jack…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.723064 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 157 pages. Joel Jacklich #2075225. Published by Joel Jacklich (A0.723064). His is an arrangement by the composer of his Rondo in A minor (originally written for Guitar and Orchestra) for Cello and Orchestra. There is also a version arranged for Viola and Orchestra. In October, 2014, after my most recent commission, the creative juices were still flowing, and I felt the urge to write a work for guitar and orchestra (which I had always wanted to do, partly inspired by the memories Pepe Romero's performances with my orchestra forty years earlier). Amazingly, within two days I had, except for a few minor corrections, a completed work. The result was the Rondo in A minor for Guitar and Orchestra, which I dedicated to my friend, Sir Pepe Romero, with the greatest respect and admiration. In December of 2014, I realized the work was easily accessible for either viola or cello and created versions of the piece for solo cello and orchestra, and also a version for solo viola and orchestra. The work is rondo-like in form, but does not strictly follow all the rules. The form of the work is a kind of a musical palindrome: A B A C A D A C A B A (including a cadenza in the final rondo statement). The presence of castanets gives the work a bit of a Spanish flair. The piece is scored for pairs of flutes, oboes, clarinets in A, bassoons, horns, and trumpets in C; with timpani, castanets, and strings (8,8,5,5,3). Parts for clarinets and trumpets in B-flat are included in the set for those orchestras lacking clarinets in A or trumpets in C.
$65.00
59.92 €
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Orchestre de chambre
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Joel Jacklich
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Joel Jacklich (ASCAP)
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Rondo in A minor for Cello and Orchestra
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Joel Jacklich
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SheetMusicPlus
Aubade: A Pairing with Beethoven's Symphony #1 - Oboe 1
Hautbois (partie séparée)
Oboe Solo - Level 4 - Digital Download SKU: A0.1018903 Composed by Benjamin Harry S…
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Oboe Solo - Level 4 - Digital Download SKU: A0.1018903 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6064741. Published by Benjamin Sajo (A0.1018903). Programme Notes: Mornings are powerful and evocative moments. The chorus of birds, one species after another, unite in a wild and genuine polyphony while the dew and mist evaporate upon the rising of the sun, encouraging goosebumps and shivers from an open window, tempered or exhilarated by a cup of coffee. Have you ever actively witnessed the sun’s sultry and intense ascension from the cradle of the horizon? That is what this piece, Aubade, or dawn song, is about. An aubade is the twin of a night-time serenade; an aubade is a love song originating amongst the medieval Provençal troubadours, depicting the morning departure between two lovers. A song for the slow cosmic percolation of a late summer morning. On a personal level, the composer is reminded of his own experiences, camping in Northern Canada, a simpler and less demanding time. This piece formally begins the series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection in this case is with his first symphony; I envisioned, once my piece concludes, his beautiful drawn-out chords presenting themselves--the dawn of his special genius.About the Composer:Programme Notes: It is said that the darkest hour of the night comes just before the dawn. – Thomas Fuller Mornings are powerful and evocative moments. The chorus of birds, one species after another, unite in a wild and genuine polyphony while the dew and mist evaporate upon the rising of the sun, encouraging goosebumps and shivers from an open window, tempered or exhilarated by a cup of coffee. Have you ever actively witnessed the sun’s sultry and intense ascension from the cradle of the horizon? That is what this piece, Aubade, or Dawn Song, is about. An aubade is the twin of a night-time serenade; an aubade is a love song originating amongst the medieval Provençal troubadours, depicting the morning departure between two lovers. An aubade is a song in honor of the slow cosmic percolation of a late summer morning. On a personal level, the composer is reminded of his own experiences camping in Northern Canada as a young man–a simpler and less demanding time. This piece formally begins the series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies–his two hundred and fiftieth anniversary was this year!–though they can all stand on their own on any program. The connection, in this case, is with his first symphony; I envisioned, once my piece concludes, his beautiful drawn-out chords presenting themselves–the dawn of his special genius.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Aubade: A Pairing with Beethoven's Symphony #1 - Oboe 1
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Benjamin Sajo
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SheetMusicPlus
3 Preludes for a Quarantine for Solo Piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.995184 Composed by Anthony Bannach.…
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Piano Solo - Level 5 - Digital Download SKU: A0.995184 Composed by Anthony Bannach. 20th Century,Contemporary. Score. 16 pages. Anthony Bannach Music #5794481. Published by Anthony Bannach Music (A0.995184). I hope everyone has been doing well during this crazy time. Originally I wrote these preludes as parts of composing exercises for Alan Belkin's book Music Composition: Craft and Art. They sat around for a bit until during the quarantine when I took a look at them again. I realized that these pieces had a lot of character to them, and they were quite distinct in nature. The first movement is a simple ternary form piece which begins and ends in the key of g minor and has a very neo-romantic tonal space. The B section is a brisk, more straight-forward tonal texture, but has a fun little twist sequencing up near the end of the section. The second movement was composed with the B vs Bb dichotomy functioning as a germinating cell for the rest of the movement's material. More impressionistic and mysterious than the other two movements, it also lacks a more traditional formal structure, instead relying on the development of motivic cells to make the movement cohere together in a logical way. The third movement is also a modified ternary movement, but with the A sections being played at different speeds, and the second A ending having an outro section attached. The B section is also more like a sonata form developmental section (without the required tonic-dominant modulatory feature). This movement is not only tonally very colorful, but also dynamic in regards to tempo, slowing and quickening often, giving the piece a continual sense of renewed spirit. Rather than just release the preludes as seperate pieces, I found that when played in a certain sequence, they represent a progression of mental and spiritual being that many people have, including myself, been going through during this time. As such, I made them into a suite. If it brings you a little bit of joy or excitement during this time (and after this is over), that's all that I can hope for.
$10.00
9.22 €
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Piano seul
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Anthony Bannach
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3 Preludes for a Quarantine for Solo Piano
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Anthony Bannach Music
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
193.6 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Clarinet 2
Clarinette
Clarinet Solo - Level 5 - Digital Download SKU: A0.1018929 Composed by Benjamin Har…
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Clarinet Solo - Level 5 - Digital Download SKU: A0.1018929 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072959. Published by Benjamin Sajo (A0.1018929). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Clarinette
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Contrabass
Contre Basse
Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.1018941 Composed …
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Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.1018941 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072983. Published by Benjamin Sajo (A0.1018941). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Contre Basse
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Benjamin Harry Sajo
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Strings
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Oboe 1
Hautbois (partie séparée)
Oboe Solo - Level 5 - Digital Download SKU: A0.1018926 Composed by Benjamin Harry S…
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Oboe Solo - Level 5 - Digital Download SKU: A0.1018926 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072953. Published by Benjamin Sajo (A0.1018926). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Oboe 2
Hautbois (partie séparée)
Oboe Solo - Level 5 - Digital Download SKU: A0.1018925 Composed by Benjamin Harry S…
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Oboe Solo - Level 5 - Digital Download SKU: A0.1018925 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072955. Published by Benjamin Sajo (A0.1018925). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Violin I
Violon
Violin Solo - Level 5 - Digital Download SKU: A0.1018937 Composed by Benjamin Harry…
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Violin Solo - Level 5 - Digital Download SKU: A0.1018937 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 5 pages. Benjamin Sajo #6072975. Published by Benjamin Sajo (A0.1018937). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Violon
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Violin II
Violon
Violin Solo - Level 5 - Digital Download SKU: A0.1018936 Composed by Benjamin Harry…
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Violin Solo - Level 5 - Digital Download SKU: A0.1018936 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 5 pages. Benjamin Sajo #6072977. Published by Benjamin Sajo (A0.1018936). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Violon
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Extracted Parts
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Ha…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951. Published by Benjamin Sajo (A0.1018924). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50
29.04 €
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Orchestre
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Conductor's Score
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1018921 Composed by Benjamin Ha…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1018921 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 35 pages. Benjamin Sajo #6072943. Published by Benjamin Sajo (A0.1018921). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
18.44 €
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Orchestre
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
11.05 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
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