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Stand by Me
Not classified
892
Piano & keyboards
Piano, Vocal and Guitar
1,370
Piano solo
1,280
C Instruments
639
Piano, Voice
526
Easy Piano
399
Big Note Piano
111
Accordion
38
Organ
37
1 Piano, 4 hands
26
Piano Accompaniment
13
Piano (band part)
12
Piano Trio: piano, violin, cello
7
Accordion, Voice
6
Melody line, Piano
6
Piano Quartet: piano, violin, viola, cello
3
2 Pianos, 4 hands
3
Piano Quartet: piano, 2 violins, cello
2
Piano Quintet: piano, 2 violins, viola, cello
2
2 Pianos, 8 hands
1
+ 14 instrumentations
-
Retract
Guitars
Melody line, (Lyrics) and Chords
816
Guitar notes and tablatures
368
Guitar
206
Ukulele
160
Bass guitar
97
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62
Guitar (band part)
18
Banjo
16
Dulcimer
13
2 Guitars (duet)
10
Mandolin
8
Guitar Ensemble
3
Dobro
3
Ukulele Ensemble
3
2 Dulcimers (duet)
2
Baritone Ukulele
2
3 Guitars (trio)
1
Piano, Guitar (duet)
1
4 Guitars (Quartet)
1
Electric Bass (band part)
1
+ 15 instrumentations
-
Retract
Voice
Choral SATB
239
Choral 3-part
117
Choral 2-part
70
Voice solo
68
Choral TTBB
52
High voice
50
Choral SSAA
45
Vocal duet, Piano
36
Choral Instrumental Pak
30
Choral Unison
29
Choral
22
Soprano voice, Piano
7
Vocal duet
7
Alto voice, Piano
4
Low voice, Piano
3
Baritone voice, Piano
2
Medium voice, Piano
2
Baritone voice
1
Tenor voice
1
Tenor voice, Piano
1
Low voice
1
+ 16 instrumentations
-
Retract
Woodwind
Saxophone (band part)
106
Saxophone Quartet: 4 saxophones
100
Flute
96
Alto Saxophone
82
Clarinet
81
Tenor Saxophone
74
2 Saxophones (duet)
72
Flute and Piano
56
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
54
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51
Alto Saxophone and Piano
49
Tenor Saxophone and Piano
40
Flute, Oboe, Clarinet, Bassoon
37
2 Clarinets (duet)
33
Oboe, Piano (duet)
31
Clarinet Quartet: 4 clarinets
30
2 Flutes (duet)
28
Eb Instruments
25
Soprano Saxophone and Piano
23
Oboe (band part)
22
Flute Quartet: 4 flutes
18
3 Clarinets (trio)
16
Flute, Clarinet (duet)
14
Saxophone, Clarinet (duet)
13
Flute Trio: 3 flutes
13
Clarinet (band part)
11
Baritone Saxophone, Piano
11
2 Oboes (duet)
11
Clarinet, Violin (duet)
10
Soprano Saxophone
9
English horn, Piano
9
3 Saxophones (trio)
9
Saxophone ensemble
9
Saxophone Quintet: 5 Saxophones
8
Clarinet, Trumpet (duet)
8
Recorder
7
Oboe, Bassoon (duet)
7
Clarinet Ensemble
7
Flute ensemble
6
Flute (band part)
6
2 Saxophones, Piano
6
Oboe, Clarinet (duet)
6
Flute, Violin
5
Clarinet and Viola
5
Flute, Violin, Piano
5
Harmonica
4
Oboe
4
Ocarina
4
Flute, Viola (duet)
4
Flute, Trumpet (duet)
4
Oboe, Flute
3
Flute, Saxophone (duet)
3
Clarinet Quintet: 5 clarinets
2
Descant (Soprano) Recorder
2
Bass Clarinet, Piano
2
Flute, Oboe, Bassoon
2
2 Recorders (duet)
2
Oboe, Cello
2
Recorder, Guitar (duet)
2
Bass Clarinet
2
Flute, Clarinet, Piano (trio)
2
Oboe, Clarinet, Bassoon (trio)
2
Flute and Guitar
2
Pennywhistle
2
Clarinet, Cello (duet)
1
Flute, Bassoon, and Piano
1
4 Oboes
1
Saxophone and Organ
1
Clarinet, Cello, Piano (trio)
1
Baritone Saxophone
1
Flute, Cello, Piano (trio)
1
Treble (Alto) Recorder, Piano
1
Descent (Soprano) Recorder, Piano
1
Clarinet Quintet: Clarinet, String Quartet
1
Flute Quintet : 5 flutes
1
2 Flutes, Piano
1
Flute, French horn (duet)
1
5 Recorders
1
Flute, Violoncello
1
Flute, Oboe, Clarinet (trio)
1
Flute, Violin and Violoncello
1
Clarinet, Guitar (duet)
1
Recorder Ensemble
1
+ 78 instrumentations
-
Retract
Woodbrass
Trumpet
93
Trumpet (band part)
76
Trombone
70
Trombone (band part)
65
Brass Quintet: 2 trumpets, horn, trombone, tuba
52
French horn
51
Bass Clef Instruments
39
Brass quartet : 2 trumpets, trombone, tuba
33
Trombone and Piano
32
Trumpet, Piano
30
Bb Instruments
22
2 Trumpets (duet)
21
2 Trombones (duet)
18
Tuba
16
Brass Quartet
15
French Horn and Piano
14
Brass Quartet: 2 trumpets, horn, trombone
14
Euphonium
11
Brass Trio
10
English horn, Piano
9
Euphonium, Piano (duet)
8
Trumpet, Trombone (duet)
7
Trumpet, Saxophone (duet)
7
French horn (band part)
6
Brass Quartet: 4 trombones
6
Tuba and Piano
6
Brass Quartet: 4 horns
6
3 Trombones (trio)
5
Tuba (band part)
4
Trumpet, Horn (duert)
4
2 French horns (duet)
3
Trumpet, Cello, Piano
2
2 Tubas (duet)
2
4 Tubas
2
Trumpet ensemble
1
Tuba ensemble
1
Clarinet, Horn (duet)
1
Trumpet, Trombone, Piano
1
2 Euphoniums and 2 Tubas
1
3 Trumpets (trio)
1
Brass Quartet: 4 trumpets
1
Tuba and Organ
1
+ 37 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
171
Violin
110
Violin and Piano
86
Cello
72
Viola, Piano
60
Cello, Piano
55
Viola
53
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45
2 Violins (duet)
43
Harp
30
String Trio: violin, viola, cello
29
2 Cellos (duet)
26
2 Violas (duet)
20
Violin, Viola (duet)
19
Doublebass (band part)
14
Double Bass
10
Viola (band part)
9
Viola, Cello (duet)
9
String Trio: 2 violins, cello
8
String Quintet: 2 violins, viola, cello, bass
7
4 Cellos
7
Piano Trio: Violin, Viola, Piano
6
Violin (band part)
5
String trio
4
String Trio: 3 violins
4
String quartet: 4 violins
4
Double bass, Piano (duet)
3
Violin, Guitar (duet)
3
String Trio: 3 violas
3
String Trio: 3 cellos
3
Viola, Guitar (duet)
3
Harp, Voice
2
String Trio: 2 violins, viola
2
String Quartet : 4 violas
2
2 Violins, Piano
1
String Quintet: 2 violins, 2 violas, cello
1
Harp, Violin, Violoncello
1
Harp, Violin (duet)
1
Cello (band part)
1
Harp and Piano
1
Cello, String Bass (duet)
1
+ 36 instrumentations
-
Retract
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189
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132
Orchestra
52
String Orchestra
47
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38
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14
Handbells
14
Chamber Orchestra
12
Percussion (band part)
7
Vibraphone
7
Percussion Ensemble
6
Marimba
3
Big band
1
3 Marimbas
1
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You've selected:
Stand by Me
Chamber Orchestra
Sheetmusic to print
12 sheet music found
<
1
Stand By Me
#
Chamber Orchestra
#
BEGINNER
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Ben E
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Stand By Me
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Stand By Me
#
Orartiyê
#
SheetMusicPlus
Chamber Orchestra - Level 1 - Digital Download SKU: A0.1037829 By Ben E. King. By Ben E. King, Jerry Leiber, and Mike Stoller. Arranged by Stand By Me. B...
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Chamber Orchestra - Level 1 - Digital Download SKU: A0.1037829 By Ben E. King. By Ben E. King, Jerry Leiber, and Mike Stoller. Arranged by Stand By Me. Blues,Multicultural,Pop,Spiritual,Standards,World. Score and parts. 19 pages. Orartiyê #642736. Published by Orartiyê (A0.1037829). Arrangement for school orchestra and beginner groups.
$52.00
Crépuscule, Poème Symphonique, Op. 39a
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Various
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Dico
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Crépuscule, Poème Symphoniqu
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Dico Ferreira
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.895627 By Various. By Zdenek Fibich. Arranged by Dico. Romantic Period,Wedding. Score and Parts. 1...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.895627 By Various. By Zdenek Fibich. Arranged by Dico. Romantic Period,Wedding. Score and Parts. 18 pages. Dico Ferreira #501926. Published by Dico Ferreira (A0.895627). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.CRÉPUSCULE, POÈME SYMPHONIQUE in D-flat Major, Op. 39a for chamber orchestra.Score | Flute | Oboe | Trumpet | Percussion | Piano | Strings (-Viola)
$22.00
Bohème from Carmen (Young Ensembles)
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Chamber Orchestra
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INTERMEDIATE
#
Georges Bizet
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Piotr Lachert
#
Guitar 2,
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Bohème from Carmen
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CMP
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.896357 Composed by Georges Bizet. Arranged by Piotr Lachert. Children,Romantic Period,Standards. S...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.896357 Composed by Georges Bizet. Arranged by Piotr Lachert. Children,Romantic Period,Standards. Score and parts. 19 pages. CMP #3631555. Published by CMP (A0.896357). Instruments: Score, fl1, fl2, trian, camp, vib, tamb, Guitar1, Guitar 2, pf1, pf2, Orff's instruments too15 pages (3+1+1+1+1+1+1+1+1+2+2).
$9.99
Conflusion - Suite - Wind Ensemble
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Chamber Orchestra
#
INTERMEDIATE
#
Thomas Graf
#
Thomas Graf
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Conflusion - Suite - Wind Ense
#
Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.567766 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Contemporary,Jazz....
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.567766 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Contemporary,Jazz. Score and parts. 216 pages. Thomas Graf - the-hit-factory.com #546297. Published by Thomas Graf - the-hit-factory.com (A0.567766). Phantasie in 3 Sätzen für Großes Bläserensemble, Kontrabass und Schlagwerk 1. Deux Caractères 2. Dialogues 3. Dance de Conflusion Confluence heißt ein Ort in Lyon an dem 2 Flüsse zusammen fließen: Die Saône mündet in die - zumindest im Deutschen - weibliche Rhone. Im Französischen mündet sie aber in DEN Rhone – Le Rhône. Das verwirrt den Komponisten: Wie erhalten Flüsse ihr Geschlecht, sind sie mal männlich, mal weiblich? Liegt es an ihrem Charakter, an der Landschaft, die sie durchfließen? An ihrem Wasser, ihren Fischen gar? An den Menschen an ihren Ufern? Es entsteht eine veritable Konfusion. Bei darauf folgenden Gedanken über Musik entdeckt der Komponist gewisse Analogien und stellt sich die Frage: Gibt es eigentlich geschlechtertypische Musik? Oder Instrumente? Typisch männliche Harmonien oder Rhythmen? Oder eindeutig weibliche Melodien und die Art, zu interpretieren? Dieser Frage widmet sich die 3-sätzige Komposition und mäandriert dabei tänzerisch im Bett der zusammenfließenden Ströme. Farbenreiche modale Harmonien bilden das Bett für weite Melodiebögen. Ein variiert wiederkehrendes Thema gibt die Richtung vor und erzeugt einen sprudelnd tänzelnden Sog in Richtung der Mündung: Tanzendes Finale! 1. Satz: Deux Charactères Im ersten Satz (Andante) werden die Rollen verteilt - die Sâone und der Rhône erhalten ihre Darsteller. Ein erster Blick auf das Ensemble lässt schon eine Tendenz erkennen: Holzbläser(inne)n übernehmen die weibliche Hauptrolle, das männliche Blech den Gegenpart. Die beiden Schlagwerker unterstützen solidarisch je einen der beiden Pole. Mag die Zuordnung auf der Hand liegen, so bleiben doch starke Zweifel im Schlussakkord des ersten Satzes. 2. Dialogues In kleineren und größeren Dialogen wird sich munter ausgetauscht und werden die Eigenschaften herausgearbeitet und weiter entwickelt. Aber es wird zunehmend auch kopiert und imitiert, gar boshaft agitiert und nachgeäfft. Man versucht sich gegenseitig zu überzeugen, fällt sich ins Wort, braust beiderseits zunehmend auf, es wird lauter und hektischer, immer lauter, zu laut, bis die Kommunikation erlischt: Man schreit sich schließlich nur noch an! 3. Dance de Conflusion Die entstandene Konfusion findet im dritten Satz der Komposition ein versöhnliches Ende: Lasst uns tanzen! So wird schlussendlich aus der anfänglichen Confusion eine Conflusion: Es fließt und tanzt zusammen, was zusammen gehört. About this arrangement: Instrumentation: Full Score Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1 in Bb Clarinet 2 in Bb Bass Clarinet in Bb Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Contrabass Perc 1 (Snare Drum Chimes) Perc 2 (Triangle Cymbals) Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$80.00
Conflusion - Suite - Woodwind Ensemble - Score Only
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Chamber Orchestra
#
INTERMEDIATE/ADVANCED
#
Thomas Graf
#
Thomas Graf
#
Conflusion - Suite - Woodwind
#
Thomas Graf - the-hit-factory.com
#
SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1115988 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. Score and p...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1115988 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. Score and parts. 27 pages. Thomas Graf - the-hit-factory.com #717713. Published by Thomas Graf - the-hit-factory.com (A0.1115988). Phantasie in 3 Sätzen für Großes Bläserensemble, Kontrabass und Schlagwerk 1. Deux Caractères 2. Dialogues 3. Dance de Conflusion Confluence heißt ein Ort in Lyon an dem 2 Flüsse zusammen fließen: Die Saône mündet in die - zumindest im Deutschen - weibliche Rhone. Im Französischen mündet sie aber in DEN Rhone – Le Rhône. Das verwirrt den Komponisten: Wie erhalten Flüsse ihr Geschlecht, sind sie mal männlich, mal weiblich? Liegt es an ihrem Charakter, an der Landschaft, die sie durchfließen? An ihrem Wasser, ihren Fischen gar? An den Menschen an ihren Ufern? Es entsteht eine veritable Konfusion. Bei darauf folgenden Gedanken über Musik entdeckt der Komponist gewisse Analogien und stellt sich die Frage: Gibt es eigentlich geschlechtertypische Musik? Oder Instrumente? Typisch männliche Harmonien oder Rhythmen? Oder eindeutig weibliche Melodien und die Art, zu interpretieren? Dieser Frage widmet sich die 3-sätzige Komposition und mäandriert dabei tänzerisch im Bett der zusammenfließenden Ströme. Farbenreiche modale Harmonien bilden das Bett für weite Melodiebögen. Ein variiert wiederkehrendes Thema gibt die Richtung vor und erzeugt einen sprudelnd tänzelnden Sog in Richtung der Mündung: Tanzendes Finale! 1. Satz: Deux Charactères Im ersten Satz (Andante) werden die Rollen verteilt - die Sâone und der Rhône erhalten ihre Darsteller. Ein erster Blick auf das Ensemble lässt schon eine Tendenz erkennen: Holzbläser(inne)n übernehmen die weibliche Hauptrolle, das männliche Blech den Gegenpart. Die beiden Schlagwerker unterstützen solidarisch je einen der beiden Pole. Mag die Zuordnung auf der Hand liegen, so bleiben doch starke Zweifel im Schlussakkord des ersten Satzes. 2. Dialogues In kleineren und größeren Dialogen wird sich munter ausgetauscht und werden die Eigenschaften herausgearbeitet und weiter entwickelt. Aber es wird zunehmend auch kopiert und imitiert, gar boshaft agitiert und nachgeäfft. Man versucht sich gegenseitig zu überzeugen, fällt sich ins Wort, braust beiderseits zunehmend auf, es wird lauter und hektischer, immer lauter, zu laut, bis die Kommunikation erlischt: Man schreit sich schließlich nur noch an! 3. Dance de Conflusion Die entstandene Konfusion findet im dritten Satz der Komposition ein versöhnliches Ende: Lasst uns tanzen! So wird schlussendlich aus der anfänglichen Confusion eine Conflusion: Es fließt und tanzt zusammen, was zusammen gehört. About this arrangement: Instrumentation: Full Score Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1 in Bb Clarinet 2 in Bb Bass Clarinet in Bb Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Contrabass Perc 1 (Snare Drum Chimes) Perc 2 (Triangle Cymbals) Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$10.00
One Second to the Future - Guitar Orchestra
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Chamber Orchestra
#
INTERMEDIATE/ADVANCED
#
Brent C Robitaille
#
One Second to the Future - Gui
#
Brent C Robitaille
#
SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Ro...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00
Where Should a Baby Rest?
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Chamber Orchestra
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EASY
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Philip Orem
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Where Should a Baby Rest?
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Philip Orem
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SheetMusicPlus
Chamber Orchestra - Level 2 - Digital Download SKU: A0.872662 Composed by Philip Orem. Children,Contemporary,Holiday. Score and parts. 49 pages. Philip O...
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.872662 Composed by Philip Orem. Children,Contemporary,Holiday. Score and parts. 49 pages. Philip Orem #3626031. Published by Philip Orem (A0.872662). This is a sweet setting of the nursery rhyme, Where Should a Baby Rest? for alto and a small orchestra. A great addition for a children's or pops concert or as an encore.SCORE SHOULD BE PRINTED ON TABLOID SIZE PAPER. Parts are on standard letter size paper.For further information contact me at po4musik@aol.com or https://po4musik.wixsite.com/website
$65.00
Three Laments of Heloise for Chamber Orchestra
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score a...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
LASCIA CH’IO PIANGA (for Soprano, String Orchestra, Archlute, Lute and Continuo)
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Chamber Orchestra
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INTERMEDIATE
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Classical
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George Frideric Handel
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Flavio Regis Cunha
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LASCIA CH’IO PIANGA
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.597301 Composed by George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Opera,Standards...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.597301 Composed by George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Opera,Standards,Wedding. Score and parts. 32 pages. Flavio Regis Cunha #5297443. Published by Flavio Regis Cunha (A0.597301). Lascia ch'io pianga (Let me with tears), from the opera Rinaldo, is one of the most famous and beautiful arias of the Baroque period. Its first performance was in 1711 in London. It was composed by the German composer Georg Friedrich Händel. Although he used this tune as early as 1705, in the oratorio Il Trionfo del Tempo e del Disinganno – Lascia la spina, cogli la rosa, with the libretto by Giacomo Rossi a masterpiece was created – Lascia ch'io pianga. The soprano part was based on the film Farinelli.
$12.99
The Christmas Song (chestnuts Roasting On An Open Fire)
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Chamber Orchestra
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INTERMEDIATE
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Nat Cole With N
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Kyle Pudenz
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The Christmas Song
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ViolinVagabond Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.845993 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Kyle Pudenz. Ch...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.845993 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Kyle Pudenz. Christmas,Classical,Holiday,Standards,Traditional. Score and parts. 22 pages. ViolinVagabond Music #6696667. Published by ViolinVagabond Music (A0.845993). There are over 500 arrangements of this tune for sale on this site, but there is exactly ONE reason you should choose this one over any of the rest of them. It is in THE KEY OF C!! As advertised, you will find absolutely no, none, zero, zilch, NADA! accidentals in the key signature. That said, the tune is pretty chromatic as you well know, so there will of course be ample accidentals, marked clearly & appropriately as needed. This key is a particularly good choice for a baritone (lower octave) or alto (higher octave) soloist, but would also work great with any sort of instrumental soloist as well. It's pretty much the version of this tune you know and love, with a nice little instrumental break right before the last verse. No frills, but the lines you need to hear are there.Difficulty level - A professional or college orchestra could sight read this at a glance. High schoolers might take a rehearsal or two, but can totally handle it as long as the concertmaster can grab a high F on that opening fermata.Performance time - 3 minutes, right on the nose (at which Jack Frost may or may not be nipping...)Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond.
$49.99
Quintet No. 1 for Flute and Strings
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Chamber Orchestra
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INTERMEDIATE
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Ryan Christensen
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Quintet No. 1 for Flute and St
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Ryan Christensen
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.873834 Composed by Ryan Christensen. Concert,Contemporary,Standards. Score and parts. 11 pages. Ry...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.873834 Composed by Ryan Christensen. Concert,Contemporary,Standards. Score and parts. 11 pages. Ryan Christensen #3378823. Published by Ryan Christensen (A0.873834). Short and simple quintet for Flute and Strings. Great for schools and students. Perfect for concerts and recitals.Contact me: rchristcomposer@gmail.com .
$6.99
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