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7
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Vous avez sélectionné:
The Holy City
Orchestre
Partitions à imprimer
18 partitions trouvées
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1
The Holy City - Small Pops Orchestra, Choir and Voice Key of C
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.718064 Composed by Maybrick/Wet…
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Full Orchestra - Level 4 - Digital Download SKU: A0.718064 Composed by Maybrick/Wetherby. Arranged by Daryl McKenzie. Christian,Christmas,Holiday,Praise & Worship. 63 pages. Daryl McKenzie #4622383. Published by Daryl McKenzie (A0.718064). For Tenor Voice, Choir and Orchestra (2Fl, 2Cl, 3F Hns, 3 Trpts, 3Trbs, Piano, Guitar, Bass Guitar, Drums, Percussion, Harp, Vln1, Vln2, Vla, Vcl, CB. Key of C major. Ideal for Christmas Carols services.Same arrangement in the key of Db, Ab or Bb major also available on SMP: Search hereSoundcloud: https://soundcloud.com/user-99505314/the-holy-city More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.com Youtube Playlist: https://bit.ly/3m0oUkH Â
$49.99
46.53 €
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Orchestre
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Maybrick/Wetherby
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Daryl McKenzie
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The Holy City - Small Pops Orchestra, Choir and Voice Key of C
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Daryl McKenzie
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SheetMusicPlus
The Holy City - Small Pops Orchestra, Choir and Voice Key of Db
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.718065 Composed by Maybrick/Wet…
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Full Orchestra - Level 4 - Digital Download SKU: A0.718065 Composed by Maybrick/Wetherby. Arranged by Daryl McKenzie. Christian,Christmas,Holiday,Praise & Worship. 62 pages. Daryl McKenzie #4623523. Published by Daryl McKenzie (A0.718065). For Tenor Voice, Choir and Orchestra (2Fl, 2Cl, 3F Hns, 3 Trpts, 3Trbs, Piano, Guitar, Bass Guitar, Drums, Percussion, Harp, Vln1, Vln2, Vla, Vcl, CB). Key of Db major. Ideal for Christmas Carols services. Soundcloud: https://soundcloud.com/user-99505314/the-holy-city Same arrangement in the key of C major, Ab major or Bbmajor also available on SMP: Search Here   More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.com Youtube Playlist: https://bit.ly/3m0oUkH Â
$49.99
46.53 €
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Orchestre
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Maybrick/Wetherby
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Daryl McKenzie
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The Holy City - Small Pops Orchestra, Choir and Voice Key of Db
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Daryl McKenzie
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SheetMusicPlus
The Holy City - Pops Orchestra, Choir and Voice Key of Ab
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1312677 By Daryl McKenzie. By M…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1312677 By Daryl McKenzie. By Maybrick/Wetherby. Arranged by Daryl McKenzie. Christian,Christmas,Holiday,Praise & Worship,Religious. 97 pages. Daryl McKenzie #901526. Published by Daryl McKenzie (A0.1312677). For Voice, Choir and Orchestra (2Fl, 2Ob, 2Cl, 2Bsn, 5Saxes, 4F Hns, 4 Trpts, 4Trbs, Tuba, Piano, Guitar, Bass Guitar, Drums, Percussion, Harp, Vln1, Vln2, Vla, Vcl, CB). Key of Ab major. Ideal for Christmas Carols services.Soundcloud: https://soundcloud.com/user-99505314/the-holy-citySame arrangement in the key of C major, Bb major, Ab major or Dbmajor also available on SMP: Search here  More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXFContact: www.mckenziemusicproductions.comYoutube Playlist: https://bit.ly/3m0oUkH
$99.99
93.07 €
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Orchestre
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Daryl McKenzie
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Daryl McKenzie
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The Holy City - Pops Orchestra, Choir and Voice Key of Ab
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Daryl McKenzie
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SheetMusicPlus
The Holy City - Pops Orchestra, Choir and Voice Key of Bb
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1119175 By Daryl McKenzie. By M…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1119175 By Daryl McKenzie. By Maybrick/Wetherby. Arranged by Daryl McKenzie. Christian,Christmas,Holiday,Praise & Worship. 90 pages. Daryl McKenzie #720590. Published by Daryl McKenzie (A0.1119175). For Voice, Choir and Orchestra (2Fl, 2Ob, 2Cl, 2Bsn, 5Saxes, 4F Hns, 4 Trpts, 4Trbs, Tuba, Piano, Guitar, Bass Guitar, Drums, Percussion, Harp, Vln1, Vln2, Vla, Vcl, CB). Key of Bb major. Ideal for Christmas Carols services. Soundcloud: https://soundcloud.com/user-99505314/the-holy-city Same arrangement in the key of C major, Ab major or Dbmajor also available on SMP: Search here   More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.com Youtube Playlist: https://bit.ly/3m0oUkH Â
$99.99
93.07 €
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Orchestre
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Daryl McKenzie
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Daryl McKenzie
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The Holy City - Pops Orchestra, Choir and Voice Key of Bb
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Daryl McKenzie
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SheetMusicPlus
Rosary Sonatas: The Presentation
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1081594 Composed by Heinrich Ig…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 79 pages. JMJ Arrangements #685710. Published by JMJ Arrangements (A0.1081594). [W]hen the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, 'Every male that opens the womb shall be called holy to the Lord') and to offer a sacrifice according to what is said in the law of the Lord, 'a pair of turtledoves, or two young pigeons.' Now there was a man in Jerusalem, whose name was Simeon, and this man was righteous and devout, looking for the consolation of Israel, and the Holy Spirit was upon him. And it had been revealed to him by the Holy Spirit that he should not see death before he had seen the Lordâs Christ. And inspired by the Spirit he came into the temple; and when the parents brought in the child Jesus, to do for him according to the custom of the law, he took him up in his arms and blessed God and said, 'Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation which thou hast prepared in the presence of all peoples, a light for revelation to the Gentiles, and for glory to thy people Israel.' And his father and his mother marveled at what was said about him; and Simeon blessed them and said to Mary his mother, 'Behold, this child is set for the fall and rising of many in Israel, and for a sign that is spoken against (and a sword will pierce through your own soul also), that thoughts out of many hearts may be revealed.' ... And when they had performed everything according to the law of the Lord, they returned into Galilee, to their own city, Nazareth. And the child grew and became strong, filled with wisdom; and the favor of God was upon him. (Luke 2:22-35, 39-40 RSV-CE).
$19.99
18.61 €
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Orchestre
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Presentation
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JMJ Arrangements
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SheetMusicPlus
Rosary Sonatas: The Annunciation
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1081578 Composed by Heinrich Ig…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1081578 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 57 pages. JMJ Arrangements #685700. Published by JMJ Arrangements (A0.1081578). In the sixth month the angel Gabriel was sent from God to a city of Galilee named Nazareth, to a virgin betrothed to a man whose name was Joseph, of the house of David; and the virginâs name was Mary. And he came to her and said, 'Hail, full of grace, the Lord is with you!' But she was greatly troubled at the saying, and considered in her mind what sort of greeting this might be. And the angel said to her, 'Do not be afraid, Mary, for you have found favor with God. And behold, you will conceive in your womb and bear a son, and you shall call his name Jesus. He will be great, and will be called the Son of the Most High; and the Lord God will give to him the throne of his father David, and he will reign over the house of Jacob for ever; and of his kingdom there will be no end.' And Mary said to the angel, 'How can this be, since I have no husband?' And the angel said to her, 'The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be called holy, the Son of God. And behold, your kinswoman Elizabeth in her old age has also conceived a son; and this is the sixth month with her who was called barren. For with God nothing will be impossible.' And Mary said, 'Behold, I am the handmaid of the Lord; let it be to me according to your word.' And the angel departed from her. (Luke 1:26-38 RSV-CE).
$19.99
18.61 €
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Orchestre
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Annunciation
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JMJ Arrangements
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SheetMusicPlus
Rosary Sonatas: The Visitation
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1081580 Composed by Heinrich Ig…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1081580 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 47 pages. JMJ Arrangements #685702. Published by JMJ Arrangements (A0.1081580). In those days, Mary arose and went with haste into the hill country, to a city of Judah, and she entered the house of Zechariah and greeted Elizabeth. And when Elizabeth heard the greeting of Mary, the babe leaped in her womb; and Elizabeth was filled with the Holy Spirit and she exclaimed with a loud cry, 'Blessed are you among women, and blessed is the fruit of your womb! And why is this granted me, that the mother of my Lord should come to me? For behold, when the voice of your greeting came to my ears, the babe in my womb leaped for joy. And blessed is she who believed that there would be a fulfillment of what was spoken to her from the Lord.' And Mary said, â'My soul magnifies the Lord, and my spirit rejoices in God my Savior, for he has regarded the low estate of his handmaiden. For behold, henceforth all generations will call me blessed; for he who is mighty has done great things for me, and holy is his name. And his mercy is on those who fear him from generation to generation. He has shown strength with his arm, he has scattered the proud in the imagination of their hearts, he has put down the mighty from their thrones, and exalted those of low degree; he has filled the hungry with good things, and the rich he has sent empty away. He has helped his servant Israel, in remembrance of his mercy, as he spoke to our fathers, to Abraham and to his posterity for ever.' And Mary remained with her about three months, and returned to her home. (Luke 1:39-56 RSV-CE).
$19.99
18.61 €
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Orchestre
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Visitation
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JMJ Arrangements
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SheetMusicPlus
Holy City
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1296467 Composed by Frederick E…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1296467 Composed by Frederick E. Weatherly, Jean Linard, and Stephen Robert Adams. Arranged by Junmo Bahk. Praise & Worship. Score and Parts. 43 pages. Junmo Bahk #886265. Published by Junmo Bahk (A0.1296467). 1 fl,ob,cla,bsn1 tp,hrn,tbn1 timVn 1, Vn 2, Va, Vc, Cborchetra score.
$60.00
55.85 €
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Orchestre
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Frederick E
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Junmo Bahk
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Holy City
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Junmo Bahk
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SheetMusicPlus
Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869365 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 pages. Thomas Oboe Lee #29655. Published by Thomas Oboe Lee (A0.869365). Instrumentation: 2222-4321-2perc-pf-strings. When Andrea Bates, executive director of the Brockton Symphony Orchestra, first told me that the Brockton Symphony had commissioned me to write a new work to be premiered in 2003-2004, I immediately thought that since its music director, Jonathan Cohler, is a marvelous clarinetist I would be most attracted to the idea of writing a clarinet concerto for the occasion. Both Andrea and Jonathan were very receptive and enthusiastic about my idea. Andrea also told me that the commissioned work should somehow bring to attention the diverse cultures of the recent immigrants that have settled in the city of Brockton. So in the spring of 2003 I came down to Brockton for a meeting to which Andrea had invited representative members of these new communities. Three showed up: Maria Evora-Rosa, Rick Marrero and Fred Fontaine. Andrea had asked them to bring recordings of the music from their countries for me to listen to. There were CDs of very exciting and fun music from Cape Verde, Puerto Rico, Cuba, the Dominican Republic and Haiti. After spending months listening to the music from these countries, all of them islands in the Atlantic or the Caribbean, I slowly began to get a sense of the beauty and the magic of the musical style and language of each place, each individual island. The end result is a three-movement work for clarinet and orchestra. Unlike the traditional Concerto form which is Fast-Slow-Fast, this work begins with something slow. A fast number follows as a second movement; and then, after a short, slow interlude, another fast number appears. The first movement is my adaptation of the morna of Cape Verde â slow, melancholy and sad. The diva of the morna is Cesaria Evora. Her singing brings to mind a fusion between the African blues and the Portuguese fado. The second movement is my take on the merengue as performed by the inimitable Xavier Cugat. It is dance music through and through!!! The third movement is also a dance number: the ever-popular music from Haiti, the reggae. And in order to give some contrast between the two dance numbers, I added a slow chorale for clarinet and strings that serves as a prelude before the dancing begins in the final movement. I envision the chorale as a little church music before the people go out and dance the night away. Throughout the entire work, the solo clarinet is the principal voice ⦠singing, dancing, and cavorting!!! Gotta dance!!! Have fun and enjoy the music!!! I surely did as I was working on it â¦.
$9.99
9.3 €
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Orchestre
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Thomas Oboe Lee
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Clarinet Concerto ... Sounds of the Islands
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Thomas Oboe Lee
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SheetMusicPlus
Joseph Martin: Goin To The Holy City (COMPLETE) for orchestra
Orchestre
Instantly downloadable sheet music by Joseph Martin for orchestra of MEDIUM skill level.
Instantly downloadable sheet music by Joseph Martin for orchestra of MEDIUM skill level.
$205.99
191.73 €
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Orchestre
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Joseph Martin
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Virtualsheetmusic
Land O' the Leal
Orchestre
Orchestra - Digital Download SKU: IZ.OMW231 Composed by Dan Adams. Score and Parts.…
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Orchestra - Digital Download SKU: IZ.OMW231 Composed by Dan Adams. Score and Parts. 55 pages. Imagine Music - Digital #OMW231. Published by Imagine Music - Digital (IZ.OMW231). 9 x 12 inches.A collector of folk tunes, Lady Nairne (Carolina Oliphant) undoubtedly chose the traditional Scottish air âHey, Tuttie, Tattie as the setting for her melancholy text because of its beauty and simplicity. Also known as the melody to Robert Burns' nationalistic âScots Wha Hae, the folk tune has been part of Scottish life for centuries. Lady Nairne wrote her words upon the passing of the only child of her friend, Mrs. Archibald Campbell Colquhoun. In her setting, the Land O' The Leal is a reference to heaven, where they will someday be reunited. This orchestral arrangement of the old Scottish tune hopes to capture the serenity and hopefulness of her poem..
$70.00
65.15 €
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Orchestre
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Dan Adams
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Land O' the Leal
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Imagine Music - Digital
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SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). 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 âFilioqueâ (which would still fit the rhythm of the repeated âqui ex Patreâ, should any Catholics ever wish to perform this as a mass) make it rather a âliturgical oratorio for all nationsâ, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composerâs first contact with Beethovenâs 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), ârex caelestisâ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the âanabasisâ gesture at âGloria in excelsis Deoâ, âet ascendit in caelisâ, âin remissionem peccatorumâ and the resurrection, a flute trill standing for the Holy Spirit who has come âlike a doveâ at âet incarnatus estâ, a cross-shaped texture at âcrucifixusâ, and some word-painting (hushed sonorities at âet invisibiliumâ, anticipations between orchestra and chorus at âet exspectoâ 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). âKyrieâ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâs serene modality and counterpoint. âGloriaâ 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. âCredoâ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn âPange linguaâ, made famous by Mozartâs last symphony and by other Classical composers. Both âGloriaâ and âCredoâ end with extended, powerful and elaborate fugues (âin gloria Dei Patrisâ and âet vitam venturi saeculiâ, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ accents, a la Stravinsky. The same sections plus âAgnus Deiâ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of âSanctusâ). âJudicareâ quotes the beginning of the well-known âDies iraeâ plainchant tune, and the Consecration between the âSanctusâ and âBenedictusâ 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 âAgnus Deiâ, which includes another quotation (the famous âDresden Amenâ at âqui tollis peccata mundiâ and âdona nobis pacemâ). In the final section, with its refined simplicity, the choral voices enter in descending order, and the âKyrie eleisonâ theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
148.92 €
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Orchestre
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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 âFilioqueâ (which would still fit the rhythm of the repeated âqui ex Patreâ, should any Catholics ever wish to perform this as a mass) make it rather a âliturgical oratorio for all nationsâ, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composerâs first contact with Beethovenâs 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), ârex caelestisâ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the âanabasisâ gesture at âGloria in excelsis Deoâ, âet ascendit in caelisâ, âin remissionem peccatorumâ and the resurrection, a flute trill standing for the Holy Spirit who has come âlike a doveâ at âet incarnatus estâ, a cross-shaped texture at âcrucifixusâ, and some word-painting (hushed sonorities at âet invisibiliumâ, anticipations between orchestra and chorus at âet exspectoâ 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). âKyrieâ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâs serene modality and counterpoint. âGloriaâ 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. âCredoâ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn âPange linguaâ, made famous by Mozartâs last symphony and by other Classical composers. Both âGloriaâ and âCredoâ end with extended, powerful and elaborate fugues (âin gloria Dei Patrisâ and âet vitam venturi saeculiâ, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ accents, a la Stravinsky. The same sections plus âAgnus Deiâ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of âSanctusâ). âJudicareâ quotes the beginning of the well-known âDies iraeâ plainchant tune, and the Consecration between the âSanctusâ and âBenedictusâ 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 âAgnus Deiâ, which includes another quotation (the famous âDresden Amenâ at âqui tollis peccata mundiâ and âdona nobis pacemâ). In the final section, with its refined simplicity, the choral voices enter in descending order, and the âKyrie eleisonâ theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
80.04 €
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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
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples ⦠six dreams by Richard Kenney; String Quartet No 5 ⦠Four Birthdays; and Chôrinhos ⦠opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then weâd go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 ⦠Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto ⦠Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 ⦠Roman Holidays, my give back to the city of Rome â a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Berniniâs Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Berniniâs Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99
9.3 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holidays
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Thomas Oboe Lee
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SheetMusicPlus
Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâs death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussyâs keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâs Jeux dâeau, published in 1902. The opening movement, âPagodesâ, is Debussyâs first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâs use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as âPagodesâ was his first Oriental piece, so âLa soirée dans Grenadeâ was the first of Debussyâs evocations of Spain-that preternatural embodiment of an âimaginary Andalusiaâ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâs personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâs Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), âif this isnât the music they play in Granada, so much the worse for Granada!â-and there is no debate about the absolute authenticity of Debussyâs use of Spanish idioms here. Falla himself pronounced it âcharacteristically Spanish in every detailâ. âLa soirée dans Grenadeâ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. âJardins sous la pluieâ is based on the childrenâs song âNous nârons plus au boisâ (We shanât go to the woods): its original 1894 form was in fact entitled Quelques aspects de âNous nârons plus au boisâ. The two versions are really two distinct treatments of the same set of ideas, but in âJardins sous la pluieâ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâs song for treatment, âDo, do, lâenfant doâ) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.27 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâs death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussyâs keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâs Jeux dâeau, published in 1902. The opening movement, âPagodesâ, is Debussyâs first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâs use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as âPagodesâ was his first Oriental piece, so âLa soirée dans Grenadeâ was the first of Debussyâs evocations of Spain-that preternatural embodiment of an âimaginary Andalusiaâ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâs personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâs Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), âif this isnât the music they play in Granada, so much the worse for Granada!â-and there is no debate about the absolute authenticity of Debussyâs use of Spanish idioms here. Falla himself pronounced it âcharacteristically Spanish in every detailâ. âLa soirée dans Grenadeâ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. âJardins sous la pluieâ is based on the childrenâs song âNous nârons plus au boisâ (We shanât go to the woods): its original 1894 form was in fact entitled Quelques aspects de âNous nârons plus au boisâ. The two versions are really two distinct treatments of the same set of ideas, but in âJardins sous la pluieâ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâs song for treatment, âDo, do, lâenfant doâ) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
23.27 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâs death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussyâs keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâs Jeux dâeau, published in 1902. The opening movement, âPagodesâ, is Debussyâs first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâs use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as âPagodesâ was his first Oriental piece, so âLa soirée dans Grenadeâ was the first of Debussyâs evocations of Spain-that preternatural embodiment of an âimaginary Andalusiaâ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâs personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâs Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), âif this isnât the music they play in Granada, so much the worse for Granada!â-and there is no debate about the absolute authenticity of Debussyâs use of Spanish idioms here. Falla himself pronounced it âcharacteristically Spanish in every detailâ. âLa soirée dans Grenadeâ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. âJardins sous la pluieâ is based on the childrenâs song âNous nârons plus au boisâ (We shanât go to the woods): its original 1894 form was in fact entitled Quelques aspects de âNous nârons plus au boisâ. The two versions are really two distinct treatments of the same set of ideas, but in âJardins sous la pluieâ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâs song for treatment, âDo, do, lâenfant doâ) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.27 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
Joseph M. Martin: Goin To The Holy City (complete set of parts) - orchestra/band
Orchestre
Instantly printable sheet music by Joseph M. Martin for orchestra/band of MEDIUM skill lev…
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Instantly printable sheet music by Joseph M. Martin for orchestra/band of MEDIUM skill level. / christian,concert
$69.99
65.14 €
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Orchestre
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Joseph M. Martin
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Virtualsheetmusic
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