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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
Orchestral Music
Sheetmusicplus
Non classifié
1 925
Piano & claviers
Piano seul
420
Piano, Voix
280
Piano Facile
98
Piano, Voix et Guitare
57
Piano Trio: piano, violon, violoncelle
24
Accompagnement Piano
22
Orgue
21
1 Piano, 4 mains
20
Piano Quintette: piano, 2 violons, alto, violoncelle
18
Instruments en Do
18
2 Pianos, 4 mains
15
Clavecin
7
Accordéon
6
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano (partie séparée)
2
2 Accordéons
1
1 Piano, 6 mains
1
Orgue, Piano (duo)
1
Orgue, Trompette (duo)
1
Tous Les Instruments
1
+ 15 instrumentations
Retracter
Guitares
Guitare
34
Guitare notes et tablatures
13
2 Guitares (duo)
6
Piano, Guitare (duo)
6
Ligne De Mélodie, (Paroles) et Accords
5
Guitare (partie séparée)
4
Basse electrique
4
Guitare, Flûte, Clarinette
2
Ensemble de guitares
2
4 Guitares (Quatuor)
2
Orchestre à Plectres
1
Guitare, Violon, Violoncelle (trio)
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
468
Chorale 3 parties
97
Chorale 2 parties
46
Chorale TTBB
44
Chorale Unison
24
Voix Alto, Piano
14
Pack Instrumental pour Chorale
12
Voix duo, Piano
12
Chorale SSAA
9
Voix haute
8
Voix Soprano, Orchestre
6
Voix Soprano, Piano
6
Soli, choeur mixte et accompagnement
5
Chorale
5
Voix duo
5
Voix Tenor, Piano
5
Voix Baryton, Piano
3
Voix moyenne, Piano
3
Voix basse
3
Voix basse, Piano
3
Chorale SATBB
2
Voix Tenor
2
Chorale SSATTB
2
Voix Moyenne
1
Chorale SATTBB A Cappella
1
Chorale SSAATTBB
1
Chorale SSATB
1
+ 22 instrumentations
Retracter
Vents
Flûte traversière et Piano
152
Clarinette et Piano
96
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
75
Hautbois, Piano (duo)
71
Saxophone Alto et Piano
68
Quatuor de Saxophones: 4 saxophones
59
2 Flûtes traversières (duo)
44
Ensemble de saxophones
43
Quatuor de Clarinettes: 4 clarinettes
41
Saxophone Soprano et Piano
41
Clarinette
39
2 Saxophones (duo)
37
Saxophone Tenor et Piano
36
Hautbois (partie séparée)
30
Flûte traversière
28
Quintette de Saxophone: 5 saxophones
27
Flûte, Hautbois, Clarinette, Basson
24
Saxophone Alto
23
Saxophone Tenor
23
Quatuor de Flûtes : 4 flûtes
22
Ensemble de Clarinettes
22
2 Clarinettes (duo)
20
Cor anglais, Piano
19
Saxophone Baryton, Piano
17
3 Saxophones (trio)
15
Saxophone (partie séparée)
15
Clarinette (partie séparée)
15
Saxophone, Clarinette (duo)
11
Clarinette Basse, Piano
10
Ensemble de Flûtes
10
Quintette de Clarinettes: 5 clarinettes
10
Flûte, Clarinette (duo)
9
Trio de Flûtes: 3 flûtes
8
Flûte, Violon, Piano
8
Flute (partie séparée)
8
Flûte, Hautbois, Clarinette (trio)
7
Clarinette, Violon (duo)
7
Quintette de Flûte : 5 flûtes
7
3 Clarinettes (trio)
6
Hautbois, Basson (duo)
6
Hautbois, Clarinette (duo)
6
Clarinette, Basson (duo)
6
Hautbois
5
Hautbois, Flûte
5
2 Hautbois (duo)
5
Flûte et Guitare
5
Clarinette et Alto
4
2 Flûte à bec (duo)
4
Flûte, Violoncelle
3
Flûte, Trompette (duo)
3
Clarinette, Trompette (duo)
3
3 Flûtes à bec (trio)
3
Clarinette, Violoncelle (duo)
3
Flûte, Violon
3
Clarinette, Guitare (duo)
3
Hautbois, Violoncelle
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte, Alto (duo)
3
Flûte, Clarinette, Cor, Basson (Quartet)
2
Flûte, Violoncelle, Piano (trio)
2
Flûte, Saxophone (duo)
2
Harmonica
2
Flûte à bec Alto
2
Quatuor de Flûtes à bec
2
Flûte à bec Soprano
2
Flûte, Violon, Violoncelle et Piano
2
2 Saxophones, Piano
2
Piccolo
1
Flûte et Trio à cordes
1
2 Clarinettes, Basson
1
Clarinette, Orchestre
1
Flûte à bec Alto, Piano
1
Clarinette, Harpe (duo)
1
Flûte à Bec, Piano
1
Flûte à bec Soprano, Piano
1
Cor Anglais
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte, Hautbois, Basson
1
Ensemble de Hautbois
1
Saxophone et Orgue
1
Flûte, Basson et Piano
1
Clarinette, Violoncelle, Piano (trio)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Hautbois, Harpe
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Piccolo, Piano
1
Flûte traversière, Orchestre
1
+ 82 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
141
Quatuor de Cuivres : 2 trompettes, trombone, tuba
48
Trompette, Piano
48
Cor et Piano
42
Trombone et Piano
40
Trompette
37
Cor anglais, Piano
19
Trombone
19
Trombone (partie séparée)
18
Cor
17
Tuba et Piano
16
Trompette (partie séparée)
14
Euphonium, Piano (duo)
12
Ensemble de Trombones
12
Quatuor de Cuivres
12
Ensemble de Trompettes
9
2 Trompettes (duo)
9
Trompette, Trombone (duo)
9
2 Trombones (duo)
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Tuba
8
2 Cors (duo)
7
Trompette, Saxophone (duo)
7
3 Trombones (trio)
6
Ensemble de Cors
6
Cor, Orchestre
6
Cor (partie séparée)
5
Quatuor de cuivres: 4 cors
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Quatuor de cuivres: 4 trompettes
4
Trompette, Cor (duo)
4
Tuba (partie séparée)
3
2 Tubas (duo)
3
Quatuor de cuivres: 4 trombones
3
Trombone, Cor (duo)
3
Cor, Tuba (duo)
2
Euphonium
2
Trombone, Tuba (duo)
2
Euphonium, Tuba (duo)
2
4 Tubas
2
3 Tubas (trio)
2
Trompette, Tuba (duo)
2
Trompette, Orchestre
1
2 Euphoniums (duo)
1
Trombone basse et Piano
1
3 Trompettes (trio)
1
Trombone, Orgue
1
Cor et Orgue
1
Cor Anglais
1
3 Cors (trio)
1
Trombone et orchestre
1
+ 46 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
207
Violon et Piano
160
Violoncelle, Piano
76
Alto, Piano
75
Violoncelle
42
Violon
41
Trio à Cordes: violon, alto, violoncelle
34
Violon, Violoncelle (duo)
30
Violon (partie séparée)
28
Harpe
25
2 Violons (duo)
22
Contrebasse, Piano (duo)
21
Alto seul
21
Alto (partie séparée)
15
Violoncelle, Orchestre
12
Contre Basse
10
2 Violoncelles (duo)
9
Contrebasse (partie séparée)
9
Violon, Alto (duo)
9
2 Altos (duo)
9
Quintette à cordes: 2 violons, 2 altos, violoncelle
9
Trio à cordes: 3 violins
8
Violoncelle (partie séparée)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Harpe, Flûte (duo)
7
Alto, Violoncelle (duo)
6
Alto, Guitare (duo)
5
Violoncelle, Contrebasse (duo)
4
Ensemble de Violons
3
Violon, Guitare (duo)
3
Alto et orchestre
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle , Guitare (duo)
2
2 Contrebasses (duo)
2
Ensemble de Violoncelles
2
Trio à Cordes: 2 violons, violoncelle
2
Quatuor à cordes : 4 altos
2
Harpe, Violon (duo)
1
Harpe et Piano
1
Ensemble d'Altos
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 altos
1
Quatuor à cordes: 4 violons
1
Violoncelle, Basse continue
1
4 Harpes
1
+ 40 instrumentations
Retracter
Orchestre & Percussions
Orchestre
1 080
Orchestre d'harmonie
458
Orchestre à Cordes
293
Orchestre de chambre
179
Ensemble Jazz
54
Ensemble de cuivres
44
Piano et Orchestre
37
Orchestre, Violon
20
Ensemble de Percussions
12
Percussion (partie séparée)
11
Cloches
10
Jazz combo
7
Fanfare
6
Instrumentation Flexible
6
Batterie (partie séparée)
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Batterie
2
Vibraphone
1
Xylophone (partie séparée)
1
Voix et Orchestre
1
2 Marimbas
1
Timbales
1
+ 17 instrumentations
Retracter
Autres
Papeterie
1
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Instruments
ACCORDEON
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BASSE
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CLARINETTE
CLAVECIN
CLOCHES
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COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
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PERCU. ORCH…
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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
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
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ASIE
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COMEDIES MUSICALES -…
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MEDIEVAL - RENAISSAN…
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METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
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SOUL - R&B - HIP HOP…
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Classical Music for Children
Guitare
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel.…
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Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Sheet music. Klassik, Renaissance, Barock, Romantik, Gitarre. Classical Music for Children. Downloadable. Schott Music - Digital #Q25984. Published by Schott Music - Digital
This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.
$11.99
11.05 €
#
Guitare
#
Martin Hegel
#
Classical Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
Classical Music for Children
Guitare
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. T…
(+)
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Sheet music. Orchestermusik, Kammermusik, Oper. Classical Music for Children. Downloadable. Schott Music - Digital #Q54262. Published by Schott Music - Digital
This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.
$13.99
12.9 €
#
Guitare
#
Martin Hegel
#
Classical Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
Air from Orchestral Suite No.3 BWV1068
Piano seul
Piano - Grade 3 - Digital Download SKU: FX.FX070947 Composed by Wolfgang Amadeus Mo…
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Piano - Grade 3 - Digital Download SKU: FX.FX070947 Composed by Wolfgang Amadeus Mozart. Arranged by Patrice Bernard. Classical. Piano Part. FLEX Editions - Digital Sheet Music #FX070947. Published by FLEX Editions - Digital Sheet Music (FX.FX070947). Discover our collection of classical orchestral music masterpieces, specially arranged for solo piano by a very talented pianist teacher, composer and arranger.
$3.95
3.64 €
#
Piano seul
#
Wolfgang Amadeus Mozart
#
Patrice Bernard
#
Air from Orchestral Suite No.3 BWV1068
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FLEX Editions - Digital Sheet Music
#
SheetMusicPlus
A Little Night Music- Allegro - Extracts
Piano seul
Piano - Grade 3 - Digital Download SKU: FX.FX070862 Allegro - Extracts. Comp…
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Piano - Grade 3 - Digital Download SKU: FX.FX070862 Allegro - Extracts. Composed by Wolfgang Amadeus Mozart. Arranged by Patrice Bernard. Classical. Piano Part. FLEX Editions - Digital Sheet Music #FX070862. Published by FLEX Editions - Digital Sheet Music (FX.FX070862). Discover our collection of classical orchestral music masterpieces, specially arranged for solo piano by a very talented pianist teacher, composer and arranger.
$3.95
3.64 €
#
Piano seul
#
Wolfgang Amadeus Mozart
#
Patrice Bernard
#
A Little Night Music- Allegro - Extracts
#
FLEX Editions - Digital Sheet Music
#
SheetMusicPlus
A Little Night Music- Allegro
Piano seul
Piano - Grade 3 - Digital Download SKU: FX.FX070861 Allegro. Composed by Wol…
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Piano - Grade 3 - Digital Download SKU: FX.FX070861 Allegro. Composed by Wolfgang Amadeus Mozart. Arranged by Patrice Bernard. Classical. Piano Part. FLEX Editions - Digital Sheet Music #FX070861. Published by FLEX Editions - Digital Sheet Music (FX.FX070861). Discover our collection of classical orchestral music masterpieces, specially arranged for solo piano by a very talented pianist teacher, composer and arranger.
$4.95
4.56 €
#
Piano seul
#
Wolfgang Amadeus Mozart
#
Patrice Bernard
#
A Little Night Music- Allegro
#
FLEX Editions - Digital Sheet Music
#
SheetMusicPlus
Schubert: Moment Musicaux for Baritone Horn & Piano
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552841 Compos…
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552841 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447443. Published by jmsgu3 (A0.552841). Baritone Horn version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
30.38 €
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Baritone Horn & Piano
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jmsgu3
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SheetMusicPlus
Schubert: Moment Musicaux for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.549015 Composed by Franz …
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Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.549015 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447439. Published by jmsgu3 (A0.549015). Alto Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
30.38 €
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Saxophone Alto et Piano
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Alto Sax & Piano
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jmsgu3
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SheetMusicPlus
Schubert: Moment Musicaux for Baritone Sax & Piano
Saxophone Baryton, Piano
Baritone Saxophone,Piano - Level 2 - Digital Download SKU: A0.549018 Composed by Fr…
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Baritone Saxophone,Piano - Level 2 - Digital Download SKU: A0.549018 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447449. Published by jmsgu3 (A0.549018). Baritone Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Bari Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
30.38 €
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Saxophone Baryton, Piano
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Baritone Sax & Piano
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jmsgu3
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SheetMusicPlus
BASIC CONCEPTS OF ARRANGING AND ORCHESTRATING MUSIC
Orchestre
Orchestra - Beginning - Digital Download Arranging. E-book. 173 pages. Mel Bay Public…
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Orchestra - Beginning - Digital Download Arranging. E-book. 173 pages. Mel Bay Publications - Digital Sheet Music #93970EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459868. 8.75x11.75 inches.<br> <br> Mel Bay proudly endorses Tom Bruner's beginning text on arranging and orchestrating music. This is a hands-on approach designed to impart essential information to the serious student!ISBN 9781513459868. 8.75x11.75 inches.<br> <br> Mel Bay proudly endorses Tom Bruner's beginning text on arranging and orchestrating music. This is a hands-on approach designed to impart essential information to the serious student!
$19.99
18.43 €
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Orchestre
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BASIC CONCEPTS OF ARRANGING AND ORCHESTRATING MUSIC
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Das Rheingold
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Oper, Theater. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q17853. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> <br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages (German, English, French)<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> DAS RHEINGOLD<br> <br> "This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> <br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages (German, English, French)<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> DAS RHEINGOLD<br> <br> "This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)
$47.99
44.24 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Das Rheingold
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Schott Music - Digital
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SheetMusicPlus
Bach: Nun Komm'der Heiden Heiland - from 3 Corali: Orchestral interpretation by Ottorino Respighi
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.1217215 By Johann Sebastian B…
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String Orchestra - Level 4 - Digital Download SKU: A0.1217215 By Johann Sebastian Bach and Ottorino Respighi. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Instructional,Sacred. Score and Parts. 16 pages. FRC Music #813753. Published by FRC Music (A0.1217215). Bach: Nun Komm'der Heiden Heiland - from 3 chorales, P. 167: No. 1. Lento assai, BWV 659 - Orchestral interpretation by Ottorino Respighi.Nun komm, der Heiden Heiland (original: Nu kom der Heyden heyland, English: Savior of the nations, come, literally: Now come, Saviour of the heathen) is a Lutheran chorale of 1524 with words written by Martin Luther, based on Veni redemptor gentium by Ambrose, and a melody, Zahn 1174, based on its plainchant. It was printed in the Erfurt Enchiridion of 1524.Nun komm, der Heiden Heiland continues to be used in modern settings. It appears in liturgically oriented Christian hymnals, for example the Lutheran Book of Worship, and as the cantus firmus for organ compositions.The song was the prominent hymn for the first Sunday of Advent for centuries. It was used widely in organ settings by Protestant Baroque composers, most notably Johann Sebastian Bach, who also composed two church cantatas beginning with the hymn. Later settings include works by Ottorino Respighy, Max Reger, Brian Easdale and Siegfried Strohbach.English versions include Savior of the nations, come by William Morton Reynolds, published in 1851.for String Orchestra (Bassoon Optional).from 3 Choirs: orchestral interpretation by Ottorino Respighi (3 corali : interpretazione orchestrale di Ottorino Respighi).from Bach - 3 chorales, P. 167:  No. 1. Lento assai  (after J.S. Bach's Nun komm, der Heiden Heiland, BWV 659) for String Orchestra (with basson optional). Orchestration by Ottorino Respighi (1930).Advanced Intermediate LevelFormat: Concert, 9 x 12 inches16 pagesFull Score and Orchestral Parts.
$49.99
46.09 €
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Orchestre à Cordes
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Johann Sebastian Bach and Ottorino Respighi
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Flavio Regis Cunha
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Bach: Nun Komm'der Heiden Heiland - from 3 Corali: Orchestral interpretation by Ottorino Respighi
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FRC Music
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SheetMusicPlus
Music, Sing On!
Chorale SATB
SATB choir and Piano with optional Orchestra and Children's Choir (With Optiona…
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SATB choir and Piano with optional Orchestra and Children's Choir (With Optional Orchestra, Children's Choir) - Digital Download Composed by Cynthia Gray. Educational, Concert, Festival. Octavo. 12 pages. Heritage Music Press #15/3087H. Published by Heritage Music Press
ISBN 9781429139526. Orchestrated by Mark T Barnard.<br> <br> Especially effective with combined choirs, this piece celebrates music in a unique way, starting with the silence of the earth before music. The optional orchestration is designed with versatility in mind, as the full instrumentation is not required to be effective.ISBN 9781429139526. Orchestrated by Mark T Barnard.<br> <br> Especially effective with combined choirs, this piece celebrates music in a unique way, starting with the silence of the earth before music. The optional orchestration is designed with versatility in mind, as the full instrumentation is not required to be effective.
$2.50
2.3 €
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Chorale SATB
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Cynthia Gray
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Music, Sing On!
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Heritage Music Press
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SheetMusicPlus
Die Walkure
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
49.77 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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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)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
22.12 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Carriers of the Light-A Children's Christmas Musical
Choir Sacred - Digital Download SKU: JX.00-16077 Director's Score. Composed …
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Choir Sacred - Digital Download SKU: JX.00-16077 Director's Score. Composed by Anna Laura Page and Jean Anne Shafferman. This edition: Director's Score. Christian Elementary Musical; Church Musicals; Performance Music Ensemble; Worship Resources. Children; Christmas; Sacred; Winter. Score. 38 pages. Jubilate Music Group - Digital #00-16077. Published by Jubilate Music Group - Digital (JX.00-16077). English.This creative story line is inspired by scriptural passages celebrating Jesus as the Light of Salvation and culminates with a beautiful candlelighting ceremony for cast and audience, challenging all people to become Carriers of God's Light. Reproducible program, costuming and staging suggestions included in director's Score. Fully-orchestrated recordings by Alan Billingsley. Grades K-8, approx. 20 minutes.
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This Is What Is Meant by Love - Orchestral Score and Parts
Instrumental Parts - Digital Download SKU: LX.30-3548L Composed by Jay Rouse. Sacre…
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Instrumental Parts - Digital Download SKU: LX.30-3548L Composed by Jay Rouse. Sacred Anthem, Easter. Orchestral Score and Parts. 80 pages. Lorenz Publishing - Digital Sheet Music #e30/3548L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3548L). Boost the power of the message from “This Is What Is Meant by Love†(10/4972L) with the optional orchestration. This companion items includes the orchestral score and printable parts. The anthem, featuring a stunning text by Rose Aspinall and music by Jay Rouse, paints vivid imagery of the resurrection and embodies the love displayed by the empty tomb.
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This Is What Is Meant by Love - Orchestral Score and Parts
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Lorenz Publishing - Digital Sheet Music
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Offer Them Christ! - Orchestral Score and Parts
Instrumental Parts, Full Orchestra - Digital Download SKU: LX.30-3635L Composed by …
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Instrumental Parts, Full Orchestra - Digital Download SKU: LX.30-3635L Composed by Mary McDonald. Sacred Anthem. Orchestral Score and Parts. 115 pages. Lorenz Publishing - Digital Sheet Music #e30/3635L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3635L). Orchestral Score and Parts for 10/5231L Mary McDonald and Rose Aspinall combine their God-given talents to deliver a mighty anthem well-suited for missions and outreach emphases. Use either the solid piano accompaniment or dramatic Michael Lawrence orchestration to present the grand statement that we are to be a tangible expression of God’s love and grace to the world.
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Offer Them Christ! - Orchestral Score and Parts
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Choir and various instruments - Digital Download SKU: MQ.50-6515B-E Composed by Z. Randall Stroope. Sacred. Downloadable orchestral parts. MorningStar Music Publishers - Digital Sheet Music #50-6515B-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6515B-E). Optional Orchestral Parts include:FluteOboeClarinet in BbHorns in FViolin 1 and 2Viola VioloncelloContrabass.
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Z
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The Call
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MorningStar Music Publishers - Digital Sheet Music
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Orchestre de chambre
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Chamber Orchestra - Digital Download SKU: A0.501828 Composed by Anon. Arranged by Tim Crooks. Christmas. Score and parts. 50 pages. Published by SCORCHIO! Orchestral Music UK (A0.501828). God Rest You Merry Gentlemen, arranged by Tim Crooks for Orchestra with optional SSA choir. 1111, 2230, perc (4), piano & strings This download is Score and Parts (multiple string copies can be printed) Duration 4', level: moderate (ABRSM Grade 5+) This jazzed-up version of the traditional carol can be performed by orchestra alone, choir or combined. A compatible SSA choir part is available separately at Sheet Music plus: https://www.sheetmusicplus.com/title/god-rest-you-merry-gentlemen-str-uk-version-choir-sheet-digital-sheet-music/22119728 SCORCHIO! Orchestral Music - made in the UK We'd love to hear your feedback: strukstrings@gmail.com Facebook / Twitter @strukstrings.
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God Rest You Merry Gentlemen
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Away In a Manger (SCORCHIO! Orchestral Set)
Orchestre de chambre
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Chamber Orchestra - Digital Download SKU: A0.501795 Composed by Anon. Arranged by Tim Crooks. Christmas. Score and parts. 28 pages. Published by SCORCHIO! Orchestral Music UK (A0.501795). Away In a Manger, arranged by Tim Crooks for Orchestra with optional SATB choir. 1111, 2230, timp, glock, harp & strings This download is Score and Parts (multiple string copies can be printed) Duration 3', level: (ABRSM Grade 4+) This traditional carol can be performed by orchestra, choir or combined. A compatible SATB choir part is available separately at Sheet Music plus: https://www.sheetmusicplus.com/title/away-in-a-manger-str-uk-strings-version-choir-melody-part-digital-sheet-music/22120613 SCORCHIO! Orchestral Music - made in the UK We'd love to hear your feedback: strukstrings@gmail.com Facebook / Twitter @strukstrings.
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Manger Songs - Orchestral Score and Parts
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Orchestra - Digital Download SKU: LX.30-2619L Arranged by Lloyd Larson. Conductor's score. Sacred Anthem, Christmas. Orchestral Score and Parts. 63 pages. Lorenz Publishing - Digital Sheet Music #e30/2619L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-2619L). UPC: 000308126273.Lloyd Larson deftly weaves four manger songs together in this arrangement of traditional carols. Lush choral textures are exploited to help convey the majesty of Christ's birth. This ideal selection for Christmas Eve services is made even more versatile by the availability of an optional orchestral arrangement by Michael Lawrence. (From the cantata Rise Up! A New Light A-Comin' SATB -- 65/2009L; SAB -- 65/2010L) Instrumentation: 2 Fl, Ob, 2 Cl, Bsn (sub B Cl), 3 Tpt, 2 Hn (sub 2 A Sax), 2 Tbn (sub T Sax/Bar TC), Tb, 2 Perc, Hp, Pno, Vln 1 & 2, Vla, Vc, Db (String Reduction included).
$39.95
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Orchestre
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Lloyd Larson
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Manger Songs - Orchestral Score and Parts
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Lorenz Publishing - Digital Sheet Music
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We Need You, Lord - Orchestral Score and Printable Parts
Digital Download SKU: LX.30-3182L Composed by Mary McDonald. Sacred Anthem. Orchest…
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Digital Download SKU: LX.30-3182L Composed by Mary McDonald. Sacred Anthem. Orchestral Score and Printable Parts. 83 pages. Lorenz Publishing - Digital Sheet Music #e30/3182L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3182L). Orchestrated by Michael Lawrence.This fervent prayer will set the tone for a meaningful worship experience. Mary McDonald's lyrics plea for God to be present in our midst and to change our lives through the power of the Holy Spirit. The music builds from a reflective opening to a passionate affirmation: We need you, Lord! The instrumental ensemble includes a score and printable parts for Piccolo, 2 Flutes, Oboe, 2 Clarinets, Bassoon, 2 Horns, 2 Trumpets, 2 Trombones, Tuba, Timpani, Percussion, Harp, Piano, 2 Violins, Viola, Cello, and Bass.
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Orchestra - Digital Download SKU: LX.30-2423L The followers of Jesus reflect on His final days. Composed by Lloyd Larson. Choral Cantatas. Easter, Lent. Orchestral Score and Parts. 434 pages. Lorenz Publishing - Digital Sheet Music #e30/2423L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-2423L). UPC: 000308120899. Orchestration: Brant Adams.This compelling reflection upon Jesus’ final days is viewed through His eyes and the eyes of those surrounding Him: Mary, sister of Martha; an officer to Caiaphas; Judas; Peter; Jesus Himself; Pilate; Mary, the mother of Jesus; Mary Magdalene; and Thomas. A sequence of dramatic, scripture-based monologues tells the story, alternating with Lloyd Larson’s masterfully inspired music as the “voice of the believer†responds. Flexibly conceived, this work may be presented as simply or as elaborately as you wish, depending upon your resources and preferences. Performance options range from use as a source of single anthems for your seasonal service needs to a short worship program with monologues and choruses or a special, fully staged production. It is our hope that this work will prompt your own reflections upon the great wonder and mystery of the Incarnate God Who, for the love of His people, humbled Himself, dying for our salvation and triumphing over death.
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SheetMusicPlus
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