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Vous avez sélectionné:
THEME FROM DIES IRAE
Partitions à imprimer
17 partitions trouvées
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1
THEME FROM DIES IRAE (EASY PIANO - C VERSION) - W. A. MOZART
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.804278 Composed by Wolfgang Amadeus…
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Piano Solo - Level 3 - Digital Download SKU: A0.804278 Composed by Wolfgang Amadeus Mozart. Arranged by Juliano Music. Classical,Instructional,Romantic Period,Sacred,Standards. Score. 4 pages. Juliano Alessandro Molteni #4992359. Published by Juliano Alessandro Molteni (A0.804278). MY EASY ARRANGEMENT OF THEME FROM DIES IRAE BY W. A. MOZART. VERSION FOR PIANO.
$1.99
1.8 €
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Piano seul
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Wolfgang Amadeus Mozart
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Juliano Music
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THEME FROM DIES IRAE
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Juliano Alessandro Molteni
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SheetMusicPlus
Fantasy on the Dies Irae
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1251998 Composed by Jeffrey Alan …
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Concert Band - Level 4 - Digital Download SKU: A0.1251998 Composed by Jeffrey Alan Young. 21st Century,Classical. Score and Parts. 106 pages. Tornado Alley #846179. Published by Tornado Alley (A0.1251998). This is a sort of theme and variations on the ancient tract from the Requiem Mass called the Dies Irae. It translates from the Latin as Day of Wrath and is a descriptive poem about Judgement Day.
$70.00
63.47 €
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Orchestre d'harmonie
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Jeffrey Alan Young
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Fantasy on the Dies Irae
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Tornado Alley
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SheetMusicPlus
Resurrection, Theme from Finale, "Organ Symphony" for carillon
Carillon,Instrumental Solo - Level 4 - Digital Download SKU: A0.1477625 Composed by…
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Carillon,Instrumental Solo - Level 4 - Digital Download SKU: A0.1477625 Composed by Camille Saint-Saëns (1835-1921). Arranged by Mary Jo Disler. 19th Century,Classical,Easter,Religious. Individual part. 5 pages. MJD Editions #1055000. Published by MJD Editions (A0.1477625). The Finale of Symphony No. 3 in C minor by Saint-Saëns morphs Dies Irae - a dark, foreboding chant in C minor - into a stunning C major concluding hymn theme. This version is centered on the hymn, includes various original reharmonizations. It is perfect for carillon bells, inspiring for performer & listeners in concert, at memorial services or special events. (The YouTube version is the entire Finale of the Symphony.).
$3.99
3.62 €
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Camille Saint-Saëns
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Mary Jo Disler
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Resurrection, Theme from Finale, "Organ Symphony" for carillon
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MJD Editions
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SheetMusicPlus
Chorale from Symphony No. 2 for Low Brass Ensemble
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792520 Composed by Gus…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792520 Composed by Gustav Mahler. Arranged by Randall Malmstrom. 20th Century,Romantic Period. Score and parts. 20 pages. Gordon Cherry #5001097. Published by Gordon Cherry (A0.792520). The Chorale from the Finale of Symphony No. 2 (Resurrection) by Gustav Mahler is taken from the fifth movement, lasting over an hour. The Chorale is actually a quote from the Dies Irae, which Mahler called the march of the dead. Also added in is the Resurrection theme which is almost a fanfare. This excerpt from the Symphony features the low brass which makes this arrangement by Randall Malmstrom so meaningful. For advanced performers, this work will add another dimension to your concert.
$27.50
24.93 €
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Gustav Mahler
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Randall Malmstrom
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Chorale from Symphony No. 2 for Low Brass Ensemble
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Gordon Cherry
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SheetMusicPlus
Witches' Sabbath from Symphonie Fantastique for Multi-Level String Orchestra
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.859938 Composed by Hector Ber…
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String Orchestra - Level 3 - Digital Download SKU: A0.859938 Composed by Hector Berlioz. Arranged by Steven Kruse & Penny Thompson Kruse. Children,Contemporary,Halloween,Romantic Period,World. Score and parts. 134 pages. String Play for All #4798741. Published by String Play for All (A0.859938). Just in time for Halloween. Your students will enjoy one of the most popular classical pieces for Halloween, with the scary Dies Irae theme. This arrangement is accessible for most high school groups, with open string parts allowing beginning players to participate and enjoy. Contains full score, 6 Advanced Violin parts, 6 Violin I parts, 6 Violin II parts, 4 Violin III (Viola Treble) parts, 6 Violin Book 1 level parts, 6 Viola parts, 6 Cello parts, 4 Double Bass parts, 6 Twinkle parts each for violin, viola, and cello, and piano part. The arrangement contains all the exciting and scary sections and is about 3 1/2 minutes in length.
$16.99
15.4 €
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Orchestre à Cordes
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Hector Berlioz
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Witches' Sabbath from Symphonie Fantastique for Multi-Level String Orchestra
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String Play for All
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SheetMusicPlus
Prélude sur le Dies Irae
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.1423230 Composed by Gaston De…
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String Orchestra - Level 3 - Digital Download SKU: A0.1423230 Composed by Gaston Dethier. Arranged by Marc Linwood. 19th Century,20th Century,Classical,Romantic Period. 17 pages. RēsFacta Editions #1004527. Published by RēsFacta Editions (A0.1423230). Originally written for organ by the Beglian-American composer, Gaston Detheir, Prélude sur le Dies Irae is a meditation on the “Dies iræ” motive from the Gregorian plainchant typically found in a Requiem mass. Marked “Andante tristamente” (moderately slow, sad), Dethier's setting is a hauntingly mournful yet serene and beautiful treatment of the traditional “Dies iræ” theme.
$32.00
29.01 €
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Orchestre à Cordes
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Gaston Dethier
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Marc Linwood
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Prélude sur le Dies Irae
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RēsFacta Editions
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
79.78 €
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Chorale SATB
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
90.67 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Piano Sonata Op. 2
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1145522 Composed by Andrew Maurer. …
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Piano Solo - Level 5 - Digital Download SKU: A0.1145522 Composed by Andrew Maurer. 20th Century,Classical,Romantic Period. Score. 34 pages. Andrew Maurer #745764. Published by Andrew Maurer (A0.1145522). Compared to the Op. 1 Prelude, the Piano Sonata Op. 2 is a much different take on pianism with its virtuosic and dense textures, from the opening bars to the spectacular ending. The sonata owes its inspiration primarily to Rachmaninoff’s works, of whom it is dedicated, as well as stylistic elements of Chopin, and influence of early Prokofiev sonatas. The composition explores a unique sound world and attempts to comprise a wide gamut of human emotion through writing in idioms of romantic lyricism. The single movement work explores thematic development as its focus, and the form can be roughly divided into sections of fast-slow-fast-slow-fast-slow-fast. The opening is an inversion of the solo entrance rhythmic motif in Rachmaninoff’s First Concerto, and is built around the simple four note motif in E minor. This theme appears over pedal point with its melody eventually developing into the first lyrical theme. The inspiration for the second lyrical theme occurs prior to the development and recapitulation, which share perpetual tension between the harmonically complex theme and second lyrical theme in D major, culminating in a resolution in D major instead of the home key. Elsewhere, the hidden Dies Irae motif briefly appears. The last triumphant theme is thematically transposed from the inner voices of the second theme motif. Visit https://andrewmaurer.wixsite.com/official for more!
$6.99
6.34 €
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Piano seul
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Andrew Maurer
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Piano Sonata Op. 2
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Andrew Maurer
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SheetMusicPlus
Four Winds
Large Ensemble Alto Saxophone,B-Flat Clarinet,Baritone Saxophone,Bass Clarinet,Bassoon,Chi…
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Large Ensemble Alto Saxophone,B-Flat Clarinet,Baritone Saxophone,Bass Clarinet,Bassoon,Chimes,Euphonium,Flute,Horn,Marimba,Oboe,Percussion,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Xylophone - Digital Download SKU: A0.990176 Composed by Don Bowyer (Sunway University). Contemporary. Score and parts. 105 pages. Dolphin Don's Music School #6475223. Published by Dolphin Don's Music School (A0.990176). The title refers to the Four Winds of the Apocalypse. This single movement work is based entirely on a six-note synthetic scale including the notes C, D, E, G, Ab, A. Every other note of this scale is combined into two different triads, one augmented and the other suspended. The alternation of these two triads serves as the only harmonic structure for the piece.The trombone begins by stating a simple idea, which is blown around the ensemble until it develops into the first theme when the woodwinds take over. Following a driving ostinato percussion transition, the trumpet states the second theme.The chimes state the third theme, a twisted interpretation of the Medieval hymn, Dies Irae. The bass instruments join the chimes in repeating the third theme, while the rest of the winds restate the second theme and the percussion continue their ostinato.Each section states and repeats its own motive in a group effort that constitutes the fourth theme, then the woodwinds gently return to the first theme, accompanied by a subdued and rhythmically altered version of the third theme.The percussion ostinato returns, though rhythmically altered. The trumpets and horns bring back an altered version of the second theme, while the woodwinds do the same for the first theme. Just before the end, the trombone tries to return to the calm that began the performance. A final strong gust from the entire ensemble puts an end to this idea, simultaneously signaling the end of the piece.
$39.99
36.26 €
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Don Bowyer
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Four Winds
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Dolphin Don's Music School
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SheetMusicPlus
Poème Op. 3 for Cello & Piano
Violoncelle, Piano
Cello Duet Cello - Level 4 - Digital Download SKU: A0.1077132 Composed by Andrew Ma…
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Cello Duet Cello - Level 4 - Digital Download SKU: A0.1077132 Composed by Andrew Maurer. 20th Century,Romantic Period. Score. 17 pages. Andrew Maurer #681289. Published by Andrew Maurer (A0.1077132). Poème Op. 3 for Cello & Piano is a new composition premiered in June 2022. The composer’s creative process was to collect self-improvised fragments from several compositional periods and assemble these into a unified setting. The result relies less on traditional classical forms, with thematic elements repeating and transforming while exploring key relationships. The work relies on Romantic idioms with the style imitating Rachmaninoff’s chromaticism, with hints of Debussy and Tchaikovsky. It quotes the famous Dies irae, translated “Day of Wrath,†theme often used by the composers Rachmaninoff, Liszt, and Berlioz. You will also hear the beginning of the nursery rhyme Frère Jacques theme as well, similarly quoted in Mahler’s First Symphony, which creates an unusual juxtaposition. Visit https://andrewmaurer.wixsite.com/official for more!
$6.99
6.34 €
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Violoncelle, Piano
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Andrew Maurer
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Poème Op. 3 for Cello & Piano
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Andrew Maurer
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SheetMusicPlus
Obsession for flute solo
Flûte traversière
Flute Solo,Soprano Flute - Level 5 - Digital Download SKU: A0.1378992 By Helene Sch…
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Flute Solo,Soprano Flute - Level 5 - Digital Download SKU: A0.1378992 By Helene Schulthess. By Eugene Ysaye. Arranged by Helene Schulthess. 20th Century,Chamber,Christian,Classical,Religious. Individual part. 4 pages. Helene Schulthess #963712. Published by Helene Schulthess (A0.1378992). Eugène Ysaÿe is one of the most important violinists of all time. Due to health problems, however, he had to end his career as a violin virtuoso prematurely. He subsequently made a name for himself as a composer and conductor. In 1923 he composed six solo sonatas, including Obsession, which have a high status in violin literature.The name of this second sonata could come from Ysaÿe's obsessive preoccupation with Johann Sebastian Bach. The sonata begins with the unmistakable sequence of tones of the Prelude from the Partita in E major, BWV 1006. Abruptly, almost as a shock, this theme is replaced by the ancient Dies Irae sequence from the Mass for the Dead.I adapted the first movement of Obsession, which has no double stops, for the flute. The arrangement was first played publicly on October 19, 2014 in the Giacometti Hall, Zurich, and was subsequently published on YouTube.
$15.00
13.6 €
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Flûte traversière
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Helene Schulthess
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Helene Schulthess
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Obsession for flute solo
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Helene Schulthess
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SheetMusicPlus
Elegy for Solo Violin - without accompaniment like Esaye or Ravel but not difficult
Violon
Violin Solo - Digital Download SKU: A0.1012119 Composed by Henri Duperey. 20th Cent…
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Violin Solo - Digital Download SKU: A0.1012119 Composed by Henri Duperey. 20th Century. 6 pages. Largo Music #3590065. Published by Largo Music (A0.1012119). From composer Elegy for Solo Violin was designed and composed for middle to high level violin technique. There are almost no tunes for pure violin solo without accompaniment for these levels. Sonata by Esaye, or Tzigane by Ravel, are very difficult. So I thought many violinists need solos mid-high level. I am a violinist and also a composer. Today there are almost not exists composers who can play violin with high level, differ from 19C. Unfortunately the composer can not write such tune if he (she) can not play violin. This tune includes Dies Irae, same to Esaye, appears many times like cyclic form. The beginning is like Tzigane. These are tribute to the great composers. And the theme of 2/4 that appears at beginning and ending, are funeral march, like the feeling of Esaye's one. Please play with Tempo Rubato according to your feeling. Henri Duperey
$9.98
9.05 €
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Violon
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Henri Duperey
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Elegy for Solo Violin - without accompaniment like Esaye or Ravel but not difficult
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Largo Music
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SheetMusicPlus
Symphonie Fantastique for Trombone Quartet
Quatuor de cuivres: 4 trombones
Brass Ensemble Bass Trombone - Level 4 - Digital Download SKU: A0.955716 Composed b…
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Brass Ensemble Bass Trombone - Level 4 - Digital Download SKU: A0.955716 Composed by Hector Berlioz. Arranged by Phil Thrift. Classical. Score and parts. 47 pages. Phil Thrift #5306259. Published by Phil Thrift (A0.955716). This trombone quartet arrangement of Hector Berlioz’ Symphonie Fantastique contains all the well-known themes of the full orchestral symphony. The beginning is identical with the original, but then proceeds immediately to the March to the Scaffold of the fourth movement. The famous idée fixe of the symphony is first heard at measure 72, and this is followed by other themes from the first movement. The adagio at measure 164 re-creates the pastoral duet of the symphony’s third movement. As indicated on the charts, the first trombone should play this section offstage (as for the oboist in the original), while the others remain on stage. If this is not possible, then the first trombone should play this section muted. This very reflective interlude is followed by my personal favorite, the wondrously jolly waltz from the symphony’s second movement. This is followed by the Witches’ Round Dance, a sort of fugue, which leads to the dies irae – played in four octaves here, with a high Eflat to test your first trombonist! The idée fixe is stated once again before the arrangement concludes in the same way as the original symphony.This is a light-hearted arrangement that is not intended to re-create exactly the grandeur of the original with its huge orchestral forces. Lasting up to 8 min 50 sec, depending on how fast you take some sections, this piece will require some stamina, but every player does get a break and the lead shifts between all four trombones.If you’re not familiar with the full orchestral version, then I suggest you listen to it before attempting this arrangement.Alternative tenor clef parts are included for the tenor trombones.
$6.99
6.34 €
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Quatuor de cuivres: 4 trombones
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Hector Berlioz
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Phil Thrift
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Symphonie Fantastique for Trombone Quartet
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Phil Thrift
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SheetMusicPlus
Symphonie Fantastique for Trombone Octet
Ensemble de Trombones
Large Ensemble Bass Trombone - Level 5 - Digital Download SKU: A0.955720 Composed b…
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Large Ensemble Bass Trombone - Level 5 - Digital Download SKU: A0.955720 Composed by Hector Berlioz. Arranged by Phil Thrift. Classical,Romantic Period. Score and parts. 56 pages. Phil Thrift #5322013. Published by Phil Thrift (A0.955720). This, the trombone octet adaptation of my trombone quartet arrangement of Hector Berlioz’ Symphonie Fantastique, again features all the well-known themes of the full orchestral symphony. The beginning is identical with the original, but then proceeds immediately to the March to the Scaffold of the fourth movement. The famous idée fixe of the symphony is first heard at measure 72, and this is followed by other themes from the first movement. The adagio at measure 164 re-creates the pastoral duet of the symphony’s third movement. As indicated on the charts, the first trombone (alto) should play this section offstage (as for the oboist in the original), while the others remain on stage. If this is not possible, then the first trombone should play this section muted. This very reflective interlude is followed by my personal favorite, the wondrously jolly waltz from the symphony’s second movement. The Witches’ Round Dance, a sort of fugue, comes next, and leads to the dies irae – played in four octaves here, but in this octet version heard together with the Witches’ Round Dance. The idée fixe is stated once again before the arrangement concludes in the same way as the original symphony.This is a light-hearted arrangement that is not intended to re-create exactly the grandeur of the original with its huge orchestral forces. Lasting nearly 9 min, depending on how fast you take some sections, this piece will require some stamina, but with many sections arranged for two, three or four trombones, every player does get a break. The first part requires a very capable alto trombonist with a good high register.Player 1 plays alto throughout, player 2 switches between alto and tenor, and parts 7 and 8 are for bass trombone.Sensible page turns were impossible to incorporate in some of the parts while at the same time not exceeding four pages. So in those parts the players are instructed – during longer breaks – to fetch the next page in good time, which is easily possible if the parts are printed out on separate sheets. Players using tablets won’t have any problems, of course.
$8.99
8.15 €
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Ensemble de Trombones
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Hector Berlioz
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Phil Thrift
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Symphonie Fantastique for Trombone Octet
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Phil Thrift
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SheetMusicPlus
Fanfare for the PaleoBones for 8-part Trombone Choir
Ensemble de Trombones
Bass Trombone,Tenor Trombone - Level 5 - Digital Download SKU: A0.1414070 Composed …
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Bass Trombone,Tenor Trombone - Level 5 - Digital Download SKU: A0.1414070 Composed by Jeff Reynolds. 21st Century. 20 pages. Gordon Cherry #995840. Published by Gordon Cherry (A0.1414070). Fanfare for the PaleoBones for 8-part Trombone Choir is an exciting new original composition by Jeff Reynolds. The PaleoBones is a group of trombonists from northern California led by Jeff Reynolds who gather for special occasions to play glorious sounding works for Trombone Choir.The Fanfare is about 3 minutes in length. Mr. Reynolds explores several creative ideas including syncopations of rhythms, whole tone scale patterns, and the infamous Dies Irae chant theme, adding up to an exciting and interesting work to perform and listen to. The work is appropriate for advanced performers.The instrumentation features 5 tenors, 2 basses and 1 contrabass trombone.
$25.00
22.67 €
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Ensemble de Trombones
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Jeff Reynolds
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Fanfare for the PaleoBones for 8-part Trombone Choir
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Gordon Cherry
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SheetMusicPlus
And He Shall Smite The Wicked
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1505276 Composed by Alan Menken. Ar…
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Piano Solo - Level 4 - Digital Download SKU: A0.1505276 Composed by Alan Menken. Arranged by Eric R. 20th Century,Broadway,Contemporary,Film/TV,Latin,Musical/Show. Score. 8 pages. Overture & Storybook Musical Arrangements #1080658. Published by Overture & Storybook Musical Arrangements (A0.1505276). 'And He Shall Smite the Wicked' is the score for the climax scene from The Hunchback of Notre Dame (1996), in which Frollo meets his ultimate demise. This cue makes use of musical motifs from Someday, Heaven's Light, Out There, The Bells of Notre Dame, and the Kyrie Eleison / Dies irae themes - all of which are seamlessly woven together in Menken's signature thematic style. The score for The Hunchback of Notre Dame is regarded by many as being Alan Menken's magnum opus. With orchestrations by Danny Troob, the score for Hunchback is elevated by Menken's modern Broadway sensibility.Alan Menken's score for The Hunchback of Notre Dame (1996) was nominated for an Academy Award for Best Original Musical or Comedy Score.This arrangement for solo piano is a reduction of the full orchestra, and is suited for Intermediate+ pianists. Chords are marked throughout. An additional staff with cue notes for the Trumpet solo (meas 89-100), as well as the Violin part (meas 102-104) is shown for reference.
$6.00
5.44 €
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Piano seul
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Alan Menken
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Eric R
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And He Shall Smite The Wicked
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Overture & Storybook Musical Arrangements
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SheetMusicPlus
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