English version
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
0
Partitions
Numériques
21
Librairie
Musicale
10
Matériel
de Musique
0
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
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
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
4
PIANO & CLAVIERS
GUITARES
VOIX
Chorale 3 parties
1
VENTS
CUIVRES
CORDES
Violon
1
PERCUSSIONS & ORCHESTRES
Batterie
3
Percussion
3
Orchestre à Cordes
2
Percussion (partie séparée)
2
Orchestre d'harmonie
1
Piano et Orchestre
1
Timbales
1
Xylophone
1
Orchestre
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
I Got the Feelin' - Aux Percussion
Partitions à imprimer
21 partitions trouvées
<
1
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.09 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
I Gotta Feeling
Percussion Ensemble Bass Drum,Boomwhackers,Cymbals - Level 2 - Digital Download SKU: A0…
(+)
Percussion Ensemble Bass Drum,Boomwhackers,Cymbals - Level 2 - Digital Download SKU: A0.993500 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Remco op den Dries. Hip-Hop,R & B. Score and parts. 14 pages. TmDrums #6681823. Published by TmDrums (A0.993500). I Gotta Feeling (The Black Eyed Peas) for BoomwhackersFor percussion ensembleMelodie part for 4 persons on Boomwhackers, Chord part 1 en part 2 for 2 persons on Boomwhackers, Bass part for 2 persons on Boomwhackers, bassdrum part and Cymbal part
$14.99
13.8 €
#
The Black Eyed Peas
#
Remco op den Dries
#
I Gotta Feeling
#
TmDrums
#
SheetMusicPlus
I Gotta Feeling
Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Saxophone,Trombone,Trumpet - Le…
(+)
Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.717751 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Daryl McKenzie. Hip-Hop,R & B. Score and parts. 48 pages. Daryl McKenzie #3514775. Published by Daryl McKenzie (A0.717751). Vocal (voice part not included) with Big Band (5 Saxes, 4 trumpets, 4 Trombones, 2 Keyboards, Guitar, Bass, Drums, Percussion). Some vocals required by the brass section (simple rapping). As recorded by the Black Eyed Peas. Key of G.More arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128?aff_id=674845
$49.99
46.03 €
#
The Black Eyed Peas
#
Daryl McKenzie
#
I Gotta Feeling
#
Daryl McKenzie
#
SheetMusicPlus
I Gotta Feeling
Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Tenor Saxophone,Trombone,Trumpe…
(+)
Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.717752 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Daryl McKenzie. Hip-Hop,R & B. Score and parts. 26 pages. Daryl McKenzie #3514785. Published by Daryl McKenzie (A0.717752). Vocal (voice part not included) with Small Band (Tenor Sax, Trumpet, Trombone, 2 Keyboards, Guitar, Bass, Drums, Percussion). Playable without horns. As recorded by the Black Eyed Peas. Key of G.More arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128?aff_id=674845
$29.99
27.62 €
#
The Black Eyed Peas
#
Daryl McKenzie
#
I Gotta Feeling
#
Daryl McKenzie
#
SheetMusicPlus
I Gotta Feeling - Mallet Percussion
Percussion
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Mallet Percussion. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Percussion
#
Black Eyed Peas and The Black Eyed Peas
#
Michael Brown
#
I Gotta Feeling - Mallet Percussion
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling for Steel Band
By The Black Eyed Peas. Arranged by Scott Meister. Score, Set of Parts. 38 pages. Publishe…
(+)
By The Black Eyed Peas. Arranged by Scott Meister. Score, Set of Parts. 38 pages. Published by Scott Meister (H0.159283-204475). - Score,Set of Parts - - Scott Meister
$40.00
36.83 €
#
The Black Eyed Peas
#
Scott Meister
#
I Gotta Feeling for Steel Band
#
Scott Meister
#
SheetMusicPlus
Tears from My Eyes: Onward and Upward (for String Orchestra and Violin solo)
Violon
Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1070248 Composed by Tito …
(+)
Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1070248 Composed by Tito Abeleda. Concert,Contemporary. Full Performance. Duration 227. Visionary Quest Records #4784007. Published by Visionary Quest Records (A0.1070248). STRING ORCHESTRA - Violin Solo; Violin 1, 2, 3; Viola 1, 2, 3; Cello (non-solo) 1, 2; Contrabass 1, 2: Full Score plus parts = 43 pages. Composer: Tito Abeleda (1964 - ) Digital Download. HD CD Quality MP3 recorded at 48,000 hz 320 kbps also available. Level: IntermediateTears from My Eyes: First Movement: Remember Your Feelings (for Full Orchestra with Cello and Oboe solos) Second Movement: Reflection and Contemplation (for Flute Choir with Flute solo) Third Movement: Love Lost: Finding Your Fire Again Fourth Movement: Mourning in the Rain (for Clarinet Choir with Clarinet solo) Fifth Movement: Onward and Upward (for String Orchestra with Cello and Violin solo)A few months ago, I received a call from my parents. My Mother had some sad news to give me. Dad was very ill. My whole life flashed before me. My parents were always 200% supportive of all my artistic endeavors. None of my success would have been possible but for my Dad and Mom. My memories of my Dad and my Mom flooded my mind like a deluge. When I heard the news about how gravely ill he was I thought to myself that so often we give thanks, honor, or show our love when it is too late. Who wants to be that person? I was finally in the unique position to show my gratitude and love to my parents in the most special way that I could - through music from my heart and soul. I got the courage to look deeply within and then I began to write what was to become the first and second songs, respectively Tears from My Eyes: Remember Your Feelings and Tears from My Eyes: Reflection and Contemplation on my Tears from My Eyes: Songs from my Soul album.You will now be able to do just the same for your loved ones with this new music. Your intermediate level to advanced students and even professional musicians should find this to be a welcomed piece to learn and master. It looks deceptively simple but the learning and challenge comes from two smaller sub-ensembles playing together in their own collective units legato con moto while playing together as a whole music ensemble Everyone will enjoy and bathe in the beautiful harmonies that will resonate when the entire music ensemble begins to listen to each while playing together as a group. Your musicians will hone their skills in playing together with just the right balance that this song requires. Your musicians will also hone their skills for subdividing and maintaining an inner beat that is in sync with your conducting because there is no percussion and the notes are freely flowing on and off the down beat yet not sounding heavily syncopated when performed. When will you know when you have achieved the right balance and flow of the music? You will know when, because you will hear it and feel it when it comes into place. But I can help you with all of this with what I have to offer you today. I share with you now the final and 5th movement to Tears from my Eyes - Onward and Upward (for String Orchestra). This particular was created and produced after the Songs from My Soul album was sent for distribution. So, this song has yet to be officially released. All five movements will be released as an album Mourning in the Rain. This 5th movement Onward and Upward has a decisive emotional resolution and conviction in its pathos. The dynamics reflect accordingly ranging from mf to fff indicative of overcoming adversity and grief. Imagine overcoming despair, rising out of grief and depression and finally seeing the light of day - to join the ranks of the living and re-embracing life once again.Contact info: Tito AbeledaVisionary Quest Recordshttps://www.visionaryquestrecordsEmail: tito@visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInsta.
$2.99
2.75 €
#
Violon
#
Tito Abeleda
#
Violin 1, 2, 3
#
Tears from My Eyes: Onward and Upward
#
Visionary Quest Records
#
SheetMusicPlus
Tears from My Eyes: Onward and Upward (for String Orchestra with Cello and Violin solos)
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.984536 Composed by Visionary …
(+)
String Orchestra - Level 4 - Digital Download SKU: A0.984536 Composed by Visionary Quest Records. Concert,Contemporary. Score and parts. 75 pages. Visionary Quest Records #4767739. Published by Visionary Quest Records (A0.984536). STRING ORCHESTRA - Cello Solo; Violin Solo; Violin 1, 2, 3; Viola 1, 2, 3; Cello (non-solo) 1, 2; Contrabass 1, 2: Full Score plus parts = 75 pages. Composer: Tito Abeleda (1964 - ) Digital Download. HD CD Quality MP3 recorded at 48,000 hz 320 kbps also available. Level: IntermediateTears from My Eyes: First Movement: Remember Your Feelings (for Full Orchestra with Cello and Oboe solos) Second Movement: Reflection and Contemplation (for Flute Choir with Flute solo) Third Movement: Love Lost: Finding Your Fire Again Fourth Movement: Mourning in the Rain (for Clarinet Choir with Clarinet solo) Fifth Movement: Onward and Upward (for String Orchestra with Cello and Violin solo)A few months ago, I received a call from my parents. My Mother had some sad news to give me. Dad was very ill. My whole life flashed before me. My parents were always 200% supportive of all my artistic endeavors. None of my success would have been possible but for my Dad and Mom. My memories of my Dad and my Mom flooded my mind like a deluge. When I heard the news about how gravely ill he was I thought to myself that so often we give thanks, honor, or show our love when it is too late. Who wants to be that person? I was finally in the unique position to show my gratitude and love to my parents in the most special way that I could - through music from my heart and soul. I got the courage to look deeply within and then I began to write what was to become the first and second songs, respectively Tears from My Eyes: Remember Your Feelings and Tears from My Eyes: Reflection and Contemplation on my Tears from My Eyes: Songs from my Soul album.You will now be able to do just the same for your loved ones with this new music. Your intermediate level to advanced students and even professional musicians should find this to be a welcomed piece to learn and master. It looks deceptively simple but the learning and challenge comes from two smaller sub-ensembles playing together in their own collective units legato con moto while playing together as a whole music ensemble Everyone will enjoy and bathe in the beautiful harmonies that will resonate when the entire music ensemble begins to listen to each while playing together as a group. Your musicians will hone their skills in playing together with just the right balance that this song requires. Your musicians will also hone their skills for subdividing and maintaining an inner beat that is in sync with your conducting because there is no percussion and the notes are freely flowing on and off the down beat yet not sounding heavily syncopated when performed. When will you know when you have achieved the right balance and flow of the music? You will know when, because you will hear it and feel it when it comes into place. But I can help you with all of this with what I have to offer you today. I share with you now the final and 5th movement to Tears from my Eyes - Onward and Upward (for String Orchestra). This particular was created and produced after the Songs from My Soul album was sent for distribution. So, this song has yet to be officially released. All five movements will be released as an album Mourning in the Rain. This 5th movement Onward and Upward has a decisive emotional resolution and conviction in its pathos. The dynamics reflect accordingly ranging from mf to fff indicative of overcoming adversity and grief. Imagine overcoming despair, rising out of grief and depression and finally seeing the light of day - to join the ranks of the living and re-embracing life once again.Contact info: Tito AbeledaVisionary Quest Recordshttps://www.visionaryquestrecordsEmail: tito@visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter:
$44.99
41.43 €
#
Orchestre à Cordes
#
Visionary Quest Records
#
Violin Solo
#
Tears from My Eyes: Onward and Upward
#
Visionary Quest Records
#
SheetMusicPlus
Tears from My Eyes: Onward and Upward (for String Orchestra with Cello and Violin solos)
Orchestre à Cordes
Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1070245 Composed by Tito …
(+)
Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1070245 Composed by Tito Abeleda. Concert,Contemporary. Full Performance. Duration 404. Visionary Quest Records #4767765. Published by Visionary Quest Records (A0.1070245). STRING ORCHESTRA - Cello Solo; Violin Solo; Violin 1, 2, 3; Viola 1, 2, 3; Cello (non-solo) 1, 2; Contrabass 1, 2: Full Score plus parts = 75 pages. Composer: Tito Abeleda (1964 - ) Digital Download. HD CD Quality MP3 recorded at 48,000 hz 320 kbps also available. Level: IntermediateTears from My Eyes: First Movement: Remember Your Feelings (for Full Orchestra with Cello and Oboe solos) Second Movement: Reflection and Contemplation (for Flute Choir with Flute solo) Third Movement: Love Lost: Finding Your Fire Again Fourth Movement: Mourning in the Rain (for Clarinet Choir with Clarinet solo) Fifth Movement: Onward and Upward (for String Orchestra with Cello and Violin solo)A few months ago, I received a call from my parents. My Mother had some sad news to give me. Dad was very ill. My whole life flashed before me. My parents were always 200% supportive of all my artistic endeavors. None of my success would have been possible but for my Dad and Mom. My memories of my Dad and my Mom flooded my mind like a deluge. When I heard the news about how gravely ill he was I thought to myself that so often we give thanks, honor, or show our love when it is too late. Who wants to be that person? I was finally in the unique position to show my gratitude and love to my parents in the most special way that I could - through music from my heart and soul. I got the courage to look deeply within and then I began to write what was to become the first and second songs, respectively Tears from My Eyes: Remember Your Feelings and Tears from My Eyes: Reflection and Contemplation on my Tears from My Eyes: Songs from my Soul album.You will now be able to do just the same for your loved ones with this new music. Your intermediate level to advanced students and even professional musicians should find this to be a welcomed piece to learn and master. It looks deceptively simple but the learning and challenge comes from two smaller sub-ensembles playing together in their own collective units legato con moto while playing together as a whole music ensemble Everyone will enjoy and bathe in the beautiful harmonies that will resonate when the entire music ensemble begins to listen to each while playing together as a group. Your musicians will hone their skills in playing together with just the right balance that this song requires. Your musicians will also hone their skills for subdividing and maintaining an inner beat that is in sync with your conducting because there is no percussion and the notes are freely flowing on and off the down beat yet not sounding heavily syncopated when performed. When will you know when you have achieved the right balance and flow of the music? You will know when, because you will hear it and feel it when it comes into place. But I can help you with all of this with what I have to offer you today. I share with you now the final and 5th movement to Tears from my Eyes - Onward and Upward (for String Orchestra). This particular was created and produced after the Songs from My Soul album was sent for distribution. So, this song has yet to be officially released. All five movements will be released as an album Mourning in the Rain. This 5th movement Onward and Upward has a decisive emotional resolution and conviction in its pathos. The dynamics reflect accordingly ranging from mf to fff indicative of overcoming adversity and grief. Imagine overcoming despair, rising out of grief and depression and finally seeing the light of day - to join the ranks of the living and re-embracing life once again.Contact info: Tito AbeledaVisionary Quest Recordshttps://www.visionaryquestrecordsEmail: tito@visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeleda
$2.99
2.75 €
#
Orchestre à Cordes
#
Tito Abeleda
#
Violin Solo
#
Tears from My Eyes: Onward and Upward
#
Visionary Quest Records
#
SheetMusicPlus
I'll Be There
Chorale 3 parties
Choral Choir,Choral,SAB Chorus - Level 2 - Digital Download SKU: A0.1445699 By Walk…
(+)
Choral Choir,Choral,SAB Chorus - Level 2 - Digital Download SKU: A0.1445699 By Walk Off The Earth. By Andrew Haas, Giancarlo Nicassio, Ian Franzino, Jacob Torrey, Michael Matosic, and Sarah Blackwood. Arranged by Jennifer McMillan. Contemporary,Pop. 11 pages. Jennifer McMillan #1025541. Published by Jennifer McMillan (A0.1445699). Super fun and groovy tune by Walk Off The Earth. Features body percussion from the choir. Lyrics have been changed in the chorus so it's more appropriate for younger groups to sing. (got too drunk = feeling stuck)Small solo feature in the middle.
$2.50
2.3 €
#
Chorale 3 parties
#
Walk Off The Earth
#
Jennifer McMillan
#
I'll Be There
#
Jennifer McMillan
#
SheetMusicPlus
I Gotta Feeling - Percussion 2
Percussion (partie séparée)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Percussion 2. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Percussion (partie séparée)
#
Black Eyed Peas and The Black Eyed Peas
#
Michael Brown
#
I Gotta Feeling - Percussion 2
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Percussion 1
Percussion (partie séparée)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Percussion 1. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Percussion (partie séparée)
#
Black Eyed Peas and The Black Eyed Peas
#
Michael Brown
#
I Gotta Feeling - Percussion 1
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Drums
Batterie
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Mark A. Brymer. For Drums (Combo). Combo. Concert; Pop; Rock. EPak. 2 pages. Duration 2:45. Published by Hal Leonard - Digital Sheet Music
$7.00
6.45 €
#
Batterie
#
Black Eyed Peas and The Black Eyed Peas
#
Mark A
#
Pop
#
I Gotta Feeling - Drums
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Snare Drum
Percussion
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Snare Drum. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Percussion
#
Black Eyed Peas and The Black Eyed Peas
#
Paul Murtha
#
Rock
#
I Gotta Feeling - Snare Drum
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Bells/Xylophone
Xylophone
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Bells/Xylophone. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Xylophone
#
Black Eyed Peas and The Black Eyed Peas
#
Paul Murtha
#
Rock
#
I Gotta Feeling - Bells/Xylophone
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Drums
Batterie
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Jazz band. For Drums. Pop. Jazz Band. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Batterie
#
Black Eyed Peas and The Black Eyed Peas
#
Paul Murtha
#
I Gotta Feeling - Drums
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Multiple Bass Drums
Batterie
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Multiple Bass Drums. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Batterie
#
Black Eyed Peas and The Black Eyed Peas
#
Paul Murtha
#
Rock
#
I Gotta Feeling - Multiple Bass Drums
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Timpani
Timbales
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Timpani. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Timbales
#
Black Eyed Peas and The Black Eyed Peas
#
Michael Brown
#
I Gotta Feeling - Timpani
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
I Gotta Feeling - Cymbals
Percussion
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Cymbals. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.52 €
#
Percussion
#
Black Eyed Peas and The Black Eyed Peas
#
Paul Murtha
#
Rock
#
I Gotta Feeling - Cymbals
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
Celtiberian Landscape For Harp And Orquestra
Orchestre
Full Orchestra - Level 2 - Digital Download SKU: A0.889427 Composed by Luis Anjos T…
(+)
Full Orchestra - Level 2 - Digital Download SKU: A0.889427 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 74 pages. Luis Anjos Teixeira #4725435. Published by Luis Anjos Teixeira (A0.889427). „Celtiberian Landscape For Harp, Choir and Symphonic Orchestra All the woodwind solo parts and the Horn can be doubled. The chamber option for a minimum number of soloists would be, 1 Flute 1 Oboe 1 English Horn 1 Eb Clarinet 1 Bb Clarinet 1 Fagotte 1 Kontra Fagotte 1 F Horn 2 C Trumpet 2 Trombone 2 Tuba Timbale Bells, „Glockenspiel or Piano Percussion: gong, bass drum, snare, splash, triangle. Harp Celesta or Piano Violin I Violin II Viola Cello DoubleBass DoubleBass Solo Soprano Alto Tenor Bass In this PDF file, for each voice in the score there is an individual part ready to print. Included in this file is also the full score for the choir with individual parts. There is no text to be sung, so in the sense of a vocalizo „oh and „ah can be used „ad lieb by the singers. For the bells there is an extra optional score that could be eventually used by a keyboard instrument. The percussion could be performed by 3 or 4 musicians. It consists of a set of cymbals „G, A and C, a splash or crash, an open triangle, a snare drum, One or 2 Gongs and a bass drum. For each voice in the ensemble score there is an individual part ready to print and an optional standard one. The parts are very easy to perform. The piece is can easily be adjusted to different situations. It is perfect for school ensembles and mixed groups of beginner students and advanced ones. A little story about this piece In my early teens I dreamed in my sleep that I met a very nice gentleman, in a beautiful garden. At the time I did not now that the man in my dream was my „genetic Grandpa himself, I had never seen a picture from him, only many years later after this dream. Now back to the Dream. Grandpa toke me from the garden to a House full of sculptures and art work. There was also a room with 3 great pianos, sat to perform on 3 different stages. Family life size portraits where hanging on a corridor. Another room was full of swords and ancient family weapons. In the end of the dream a dangerous Entity approached the house, Grandpa disappears and I had to leave the place in a hurry without being noticed. I climbed up the house and went hiding on the celling. I could than see a middle aged, middle-Lower class lady coming in the House, she was very stiff, all dressed in black like a widow. It was a very weary feeling, I woke up to never forget this dream. About 20 years later I was in that garden. It was really abandoned and I spend much of my time hanging there, I wrote a lot of music in this garden. I knew about The owner of this garden, he was living not so far away from me. Curious I decided to visit him. He leaved in the house that I dreamed of and he was actually my Father but I did not know that he was my Father and either did he knew about me being his son. He died shortly after we met. His name was Pedro Augusto Franco Dos Anjos Teixeira and my Grandpa was Artur Gaspar Dos Anjos Teixeira. Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Grandpa, Nina and 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. Disclaimer: The score was written on Finale and the sound file was p.
$24.99
23.01 €
#
Orchestre
#
Luis Anjos Teixeira
#
Celtiberian Landscape For Harp And Orquestra
#
Luis Anjos Teixeira
#
SheetMusicPlus
Why do we Fall?
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1272785 Composed by Drew Morris. …
(+)
Concert Band - Level 3 - Digital Download SKU: A0.1272785 Composed by Drew Morris. 21st Century,Classical,Contemporary,Contest,Festival. Score and Parts. 70 pages. Yellow Envelope Publications #864982. Published by Yellow Envelope Publications (A0.1272785). This piece is a slow, reflective piece, meant to capture the feeling of Autumn. I wrote it while watching the leaves change color and eventually fall from the trees through my office window, after all. (I miss that view).It has several solos and soli opportunities sprinkled throughout, especially in the flute. And because I always felt sad that percussionists often got left out of the slow emotional pieces, I did my best to write parts to include a few more of them than you see in typical slow band pieces.Instrumentation2 Flute, Oboe, 2 Bassoon (splits are doubled elsewhere), 3 Clarinet, Bass Clarinet, 2 Alto Saxophone, Tenor Saxophone, Baritone Saxophone, 3 Trumpet, 4 French Horn, 3 Trombone, Euphonium, Treble Clef Euphonium, TubaString BassTimpani, Bass drum, Suspended Cymbal, Tam-tamGlockenspiel, Vibraphone, Chimes, Marimba
$65.00
59.85 €
#
Orchestre d'harmonie
#
Drew Morris
#
Why do we Fall?
#
Yellow Envelope Publications
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
