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--INSTRUMENTS--
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The Great Debate
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Partitions Gratuites
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLARINETTE
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Vous avez sélectionné:
The Great Debate
Partitions à imprimer
13 partitions trouvées
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The Great Debate
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Guitare notes et tablatures
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Pop musique
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Dream Theater
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The Great Debate
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Hal Leonard - Digital
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SheetMusicPlus
Guitar - SKU: HX.292487 By Dream Theater. Pop. Guitar TAB. 25 pages. Published by Hal Leonard - Digital (HX.292487). ...
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Guitar - SKU: HX.292487 By Dream Theater. Pop. Guitar TAB. 25 pages. Published by Hal Leonard - Digital (HX.292487).
$4.99
The Great Debate
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Guitare notes et tablatures
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Dream Theater
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The Great Debate
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Guitar TAB - SKU: AX.00-PS-0003399 By Dream Theater. By John Myung, John Petrucci, John Rudess, and Mike Portnoy. Pop/Rock. 26 pages. Alfred Music - Dig...
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Guitar TAB - SKU: AX.00-PS-0003399 By Dream Theater. By John Myung, John Petrucci, John Rudess, and Mike Portnoy. Pop/Rock. 26 pages. Alfred Music - Digital Sheet Music #00-PS-0003399. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0003399).
$2.99
George's Debate-flute duet
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2 Flûtes traversières (duo)
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INTERMÉDIAIRE/AVANCÉ
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Phil Beaman
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George's Debate-flute duet
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Phil Beaman
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SheetMusicPlus
Flute Duet Flute - Level 4 - SKU: A0.845148 Composed by Phil Beaman. Contemporary,Folk,Hip-Hop,Instructional,R & B. Score. 19 pages. Phil Beaman #625821...
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Flute Duet Flute - Level 4 - SKU: A0.845148 Composed by Phil Beaman. Contemporary,Folk,Hip-Hop,Instructional,R & B. Score. 19 pages. Phil Beaman #6258213. Published by Phil Beaman (A0.845148). This unique piece was commissioned for a Royal performance at the British Commonwealth Heads of Government Meeting. The requirement was to write a student piece for flute that told a story and represented the spirit, culture, and atmosphere of your country. Representing the island country of Grenada I wrote a flute duet using two local folk themes depicting 'sleep' and 'party'. The two flutes debate which to do. Each flute initially states their case, then the arguing begins back and forth as the phrases get shorter. Things get a bit more animated when the flutes begin interrupting and 'dissing' each other. With more energy they begin 'talking' over each other resulting in polyrhthyms. Finally they start shouting at each other and the pitch begins to rise before being abruptly stopped before things get out of hand. (The score includes prefaces and appendices to explain the commission, the story, and performance tips in greater detail.)
$6.99
String Quartet No. 3: Among Friends
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Contemporain
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Robert M
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String Quartet No. 3: Among Fr
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Robert M. Greenberg
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg ...
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String Quartet String Quartet - Level 5 - SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.
$36.00
John Myung: The Great Debate - piano, voice or other instruments
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Piano, Voix
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FACILE
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Rock
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John Myung
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Virtualsheetmusic
Instantly printable sheet music by John Myung for piano, voice or other instruments of EASY/MEDIUM skill level. / pop,rock
Instantly printable sheet music by John Myung for piano, voice or other instruments of EASY/MEDIUM skill level. / pop,rock
$7.97
Georgia On My Mind
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Guitare notes et tablatures
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FACILE
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Soul/R&B
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Ray Charles
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David McKeown
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Georgia On My Mind
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David McKeown
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.587474 By Ray Charles. By Hoagy Carmichael. Arranged by David McKeown. R & B,Soul. Guitar Tab. 2 pages. David McKeown #324377...
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Guitar - Level 2 - SKU: A0.587474 By Ray Charles. By Hoagy Carmichael. Arranged by David McKeown. R & B,Soul. Guitar Tab. 2 pages. David McKeown #3243771. Published by David McKeown (A0.587474). There is still debate as to whether Georgia on My MInd was written about the State of Georgia or the composer Hoagy Carmichael’s sister Georgia. Initially a hit in 1931, it’s the 1960 version by Ray Charles that has confirmed the song as a favourite in the Great American Songbook. This version contains the melody in both tab and notation, plus the chords and lyrics. It can be used by players and teachers alike to play either melody or accompaniment on EAGBDE standard tuning Guitar. This arrangement also provides a good starting place for an ensemble or group performance. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$4.99
Dark Eyes (Les Yeux Noirs)
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Traditional
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Dan Jones www
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A
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Dark Eyes
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DanJonesGuitarist
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SheetMusicPlus
Large Ensemble Alto Saxophone,Bass Guitar,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Piano,Tenor Saxophone,Trumpet,Ukulele,Violin - Level 1 - SKU: A0....
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Large Ensemble Alto Saxophone,Bass Guitar,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Piano,Tenor Saxophone,Trumpet,Ukulele,Violin - Level 1 - SKU: A0.851210 Composed by Traditional (Russia). Arranged by Dan Jones www.danjonesguitarist.com. Folk,Instructional,World. Score and parts. 20 pages. DanJonesGuitarist #6688129. Published by DanJonesGuitarist (A0.851210). Dark Eyes (Les Yeux Noirs) Arranged for Easy Classroom Ensemble by Dan JonesYour download includes a full score and all parts in notes and, for guitar/ukulele and bass, chords and TAB. There is some debate as to whether the tune to Dark Eyes (Les Yeux Noirs) is a traditional melody, or a Russian cabaret song. Whichever the case, it is a tune which has captured the imagination of musicians for many years. It was made famous in the 20th Century by the great Belgian jazz guitarist Django Reinhardt. Several sets of lyrics have also been added to the tune, in many languages. The instrumentation is:(1) The melody for C instruments (such as flute)(2) An easy part for C instruments(3) The same melody for B flat instruments(4) The same easy part for B flat instruments(5) The same melody for E flat instruments(6) A similar easy part for E flat instruments(7) A single-line percussion part(8) A piano part which could be played by a pupil (approximately ABRSM Grade 3) or teacher(9) A ukulele part with chords, the melody and TAB(10) A guitar part with chords, the melody and TAB(11) A bass part in notes and TAB. This part could also be played by a cello, bassoon, trombone or any low-range instrument(12) The melody written in a higher octave for more-advanced players (approx. ABRSM Grade 3-4).In the absence of some of the above, the arrangement is still effective due to the doubling of the melody and all inner parts. The bass part can also be omitted as the piano plays appropriate root notes, and the guitar plays chords. There is complete flexibility according to the resources at your disposal.A YouTube video with a demonstration video and audio track will be available at www.danjonesguitarist.com and on YouTube. The link will be published at sheetmusicplus.com soon.I hope that you find this arrangement useful. If you have suggestions for other pieces and melodies, please do contact me at www.danjonesguitarist.com.
$9.95
95@500
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Orgue
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Willard Zirk
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95@500
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Imagine Music - Digital
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SheetMusicPlus
Organ - SKU: IZ.IMF177 Composed by Willard Zirk. Score and Parts. 9 pages. Imagine Music - Digital #IMF177. Published by Imagine Music - Digital (IZ.IMF...
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Organ - SKU: IZ.IMF177 Composed by Willard Zirk. Score and Parts. 9 pages. Imagine Music - Digital #IMF177. Published by Imagine Music - Digital (IZ.IMF177). 9 x 12 in inches.The title, 95 @ 500, Variations on Ein feste Burg ist unser Gott, refers to Martin Luther's 95 theses, which (according to legend) Luther nailed on the door of the Castle Church in Wittenberg. What is known for sure is that Luther sent his Disputation on the Power of Indulgences by post to the Archbishop of Mainz on October 31, 1517. Meant only as a set of assertions for debate in hopes of reforming the church, Luther's act began a revolution in the Christian church that had great consequences. One major change was the use of more simple music that could be sung by the congregation instead of a trained choir. Hence, the Lutheran chorale was born.95 @ 500 was originally written for a trombone quartet. It was the second commission by students of my colleague and friend at Eastern Michigan University, trombone professor, Donald Babcock. They gave me carte blanche, so I took the opportunity to fulfill my wish to write a piece to commemorate the 500th anniversary of the beginning of the Reformation. Later, as I began adapting this work for organ, I soon realized that it would become a unique work in its own right.
$12.00
Air from Suite in D by Bach for flute choir / flute ensemble
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Johann Sebastion Bach , J S Ba
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Ray-Michael Kauffman
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Air from Suite in D by Bach fo
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as do Ray meflute studio production
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.874245 Composed by Johann Sebastion Bach , J S Bach. Arranged by Ray-Michael Kauffman. Baroque,Concert,Sacre...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.874245 Composed by Johann Sebastion Bach , J S Bach. Arranged by Ray-Michael Kauffman. Baroque,Concert,Sacred,Standards,Wedding. 17 pages. As do Ray meflute studio production #3591641. Published by as do Ray meflute studio production (A0.874245). https://www.youtube.com/watch?v=EKPo0RPP-E4&feature=youtu.beAir from Suite in D by J. S. Bacharranged for flute choir / ensemble by me Ray-Michael Kauffman. I know there is a lot of versions of this , but unhappy with most of them and lack of over all music musicality I decided to create one that was interesting to play and hear a swell as make good musical sense. After much debate, I decided changing the key to E flat would be most appropriate for either small group of players ( minimum 7) or larger groups . In the piece there is even additional divisions to help create more texture and colors in parts 3 & 4, yet remaining simple and true but sounding beautiful , what flutes should sound like.Great for studying flutist, to high school and college students. Flute choir groups, etcwould be a great addition for your ensemble, whether playing at a recital, concert, church and other spiritual events, graduation, weddings, etc. This would also be a great tool or warm up for balance and shaping sound, volume, color, blending, phrasing and other important technique builders for your group.You'll love this arrangement ,and so will the flutists and your audience!
$13.99
Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik...
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Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik ...
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Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95
Die rote Blume
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Fredrik Schwenk
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Die rote Blume
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Fredrik Schwenk
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1022048 Composed by Fredrik Schwenk. 20th Century,Contemporary. Score. 51 pages. Fredrik Schwenk #6319871. Publish...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1022048 Composed by Fredrik Schwenk. 20th Century,Contemporary. Score. 51 pages. Fredrik Schwenk #6319871. Published by Fredrik Schwenk (A0.1022048). The nine songs after poems by Gustav Mahler (1860-1911) were commissioned by the Dutch mezzo-soprano Christianne Stotijn. Mahler was already planning a late Romantic cantata entitled Das klagende Lied shortly after beginning his studies at the Vienna Conservatory in 1878, for which he conceived a three-part cycle of poems for his own setting. When Mahler completed the score in October 1880, he was already at the beginning of a great conducting career. The quality of the poem could be debated, especially in view of the successful Lieder eines fahrenden Gesellen from 1883 and 1884; and yet the ballad, inspired by a mixture of fairy tales by the Brothers Grimm and the poet Ludwig Bechstein, reflects almost the complete range of voices of Mahler's first great creative period, from the songs from Des Knaben Wunderhorn to the Fourth Symphony. At the special request of mezzo-soprano Chrisianne Stotijn and pianist Joseph Breinl, the complete text of the plaintive song was newly set to music. A particular challenge of the new setting of Gustav Mahler's poems consisted for me above all in compromising the genial imperfection of the poetry with a compositional aesthetic that emphasizes precisely the unrhymed, edgy and clichéd as its own quality and does not seek to conceal it. In doing so, it seemed wise and prudent to me, not only for reasons of historical distance(ization), not to implement an intersubjective subjectability to the songs. The serious and ballad-like basic tone was to be preserved, the way in which the text was implemented stems from the idea of a thoroughly pluralistic and therefore stylistic tightrope walk, which in a kind of music about music reflects the relationship to one's own tradition and its changing values and thus repeats the phenomenon of Mahler per se in the context of the 21st century.
$7.50
John Myung: The Great Debate - guitar solo (tablature)
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Guitare notes et tablatures
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FACILE
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Rock
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John Myung
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Virtualsheetmusic
Instantly printable sheet music by John Myung for guitar solo (tablature) of EASY/MEDIUM skill level. / pop,rock
Instantly printable sheet music by John Myung for guitar solo (tablature) of EASY/MEDIUM skill level. / pop,rock
$6.97
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The Great Debate
