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Vous avez sélectionné:
System Of A Down
ORCHESTRE
Partitions à imprimer
63 partitions trouvées
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BSoD (Blue Screen of Death) from HANGS AND CRASHES for Symphonic Band
BSoD (Blue Screen of Death) from HANGS AND CRASHES for Symphonic Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
#
Contemporain
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Jason McChristian
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BSoD
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886159 Composed by Jason McChristian. Contemporary. Score and parts. 132 pages. Jason Gary McChristian #4354631. Publis...
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Concert Band - Level 4 - SKU: A0.886159 Composed by Jason McChristian. Contemporary. Score and parts. 132 pages. Jason Gary McChristian #4354631. Published by Jason Gary McChristian (A0.886159). A hang is a computer term for the failure of a program to continue to respond to signals, causing the operating system to freeze. This work depicts the death knell to any operating system, a crash aptly named Blue Screen of Death. Depicting failing machines, this is music marked by frequent reboots, constant bleeps, bops, clicks, the occasional rude interruption, and makes use of ever-repeating musical figures to help depict an eternal state of stuck.
$40.00 ≈
36.74€
Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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Grant Gilman
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Scheherazade - I. The Sea and
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Dr. Grant Gilman
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.799741 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Grant Gilman. 20th Century,Romantic Period. Sco...
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String Orchestra - Level 4 - SKU: A0.799741 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Grant Gilman. 20th Century,Romantic Period. Score and parts. 147 pages. Dr. Grant Gilman #3511981. Published by Dr. Grant Gilman (A0.799741). Nikolai Rimsky-Korsakov Scheherazade - I. The Sea and Sinbad’s Ship Pick-A-Part Arrangement for String Orchestra by Dr. Grant Gilman String Orchestra Parts in This Pick-A-Part Arrangement Violin 1A Violin 1B Violin 1C Violin 2A Violin 2B Violin 2C Viola A Viola B Viola C Cello A Cello B Cello C Bass A Bass B Bass C Harp/Keyboard (optional)About Pick-A-Part Arrangement This arrangement system employs simultaneous, multi-level difficulty parts for each string section. The goal is to accommodate all levels of playing in the preparation and performance of a symphonic masterwork. In this arrangement, there are 3 difficulty levels for each individual string section, labeled A, B, and C, respectively. Each level is a decreasing level of technical and musical difficulty, level A being the highest level of difficulty. The A level is close to, if not exactly the same as, the original string part, plus the integration of wind parts when applicable. B and C follow in a proportional reduction of difficulty level. For this solution to be most effective, some students should be encouraged to play the most challenging parts simultaneously with those playing the simpler parts. This presents the opportunity to participate in a performance that includes most of the original material. The B and C parts cover enough of the surface material while maintaining a modicum of independence from the A part. In other words, the B and C parts are able to hold their own in performance without the A parts. For example, let’s say you have a couple of talented violinists and a few more that are well below their playing level, only two violists that need a great deal of help, a plethora of cellists with a wide range of abilities, and one single bass player that is a beginner. Your distribution of parts may look something like this: Violin 1 - two on Violin 1A, one on Violin 1C, and the rest on Violin 1B Violin 2 - one on Violin 2B, the rest on Violin 2C Viola - both on Viola C Cello - three on Cello A, one on Cello B, and the rest on Cello C Bass - one on Bass C This potential setup will challenge each player at their current level of development while creating the context for a moving experience with a major orchestral work. A Note about the Score and Printing The full score is designed to be printed in portrait orientation on 17x11 tabloid size paper. Even at this size, the score can be confusing to read, especially if you are not covering every difficulty level part. If you would like a custom score showing only the parts you are using, please email me: conductor@grantgilman.com. I will be happy to work with you!www.grantgilman.comwww.americanmusepodcast.com
$29.99 ≈
27.54€
A Well-Traveled Road
A Well-Traveled Road
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Orchestre
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AVANCÉ
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Contemporain
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Daniel Burwasser
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A Well-Traveled Road
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Head and Stem
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1090419 By Daniel Burwasser. By Daniel Burwasser. 20th Century,Contemporary. Score and Parts. 278 pages. Head and Ste...
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Full Orchestra - Level 5 - SKU: A0.1090419 By Daniel Burwasser. By Daniel Burwasser. 20th Century,Contemporary. Score and Parts. 278 pages. Head and Stem #694597. Published by Head and Stem (A0.1090419). A Well-Traveled Road was first sketched in the summer of 1989. It was revised and orchestrated in 1992 for a recording on MMC (now defunct) by the Slovak Radio and Television Orchestra under the direction of Robert Stankovsky. This video represents a revised version from the original 1992 score and 1995 recording. NOTES from 1995: I have always been intrigued with the transformational potentiality of themes. A Well-Traveled Road explores the diverse possibilities of the development of a single motive. I have incorporated certain principles of sonata form, although this music is more episodic in nature than three-part. It is foremost mono-thematic (the theme is first announced in the horns and trumpets). The idea then undergoes several permutations in the form of episodes, including a fleeting waltz, a form of which I am quite fond. The title of the piece itself is a metaphorical allusion to this process. The harmonic language in the work is predominantly tonal. By contemporary music standards, about one-half consonant and one-half dissonant. I do not prescribe to any type of harmonic system or any other such rationale in this work (or seldom in any of my recent work). I prefer using a more intuitive approach to harmony, reserving dissonance for spice and for enhancing the dramatic element of the music. Daniel BurwasserFor more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$70.00 ≈
64.29€
Lonely Day
Lonely Day
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Metal/Hard Rock
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System of a Down
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Chris Highway
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Lonely Day
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Chris Highway
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.945935 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Chris Highway. Metal,Rock. Score and pa...
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String Orchestra - Level 4 - SKU: A0.945935 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Chris Highway. Metal,Rock. Score and parts. 7 pages. Chris Highway #6077243. Published by Chris Highway (A0.945935). This is my version of Lonely Day as a string orchestra.If you would like to purchase this song with different instrumentation, I would be able to make a different arrangement for you. Please email me at chighway@live.co.uk . I am familiar with all of System of a Down's material, if you'd like to request other songs you can also contact me here.
$12.99 ≈
11.93€
Chop Suey!
Chop Suey!
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Orchestre d'harmonie
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INTERMÉDIAIRE
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System of a Down
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Andreas Rehn
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Chop Suey!
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Andreas Rehn
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1168167 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Andreas Re...
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Concert Band - Level 3 - SKU: A0.1168167 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Andreas Rehn. Contemporary,Grunge,Rock. Score and Parts. 74 pages. Andreas Rehn #768519. Published by Andreas Rehn (A0.1168167). Chop Suey! of System of a Down arranged for Concert Band.Impressive and surprising tune for your Concert Band or Marching Band.
$49.99 ≈
45.91€
Chop Suey!
Chop Suey!
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Metal/Hard Rock
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System of a Down
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Chris Highway
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Chop Suey!
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Chris Highway
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.945939 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Chris H...
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String Orchestra - Level 4 - SKU: A0.945939 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Chris Highway. Metal,Rock. Score and parts. 8 pages. Chris Highway #6359475. Published by Chris Highway (A0.945939). Chop Suey! for string orchestras. The piece is written in the original key; G Minor and follows the structure of the original song. It contains both Serj's and Daron's vocal melodies combined with key elements of the original instrumentation which have been altered to suit string instruments.
$12.99 ≈
11.93€
Chop Suey!
Chop Suey!
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Ensemble Jazz
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INTERMÉDIAIRE
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System of a Down
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Evelyn Stott
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Chop Suey!
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Evelyn Stott
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1192928 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arrange...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1192928 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Evelyn Stott. Jazz,Latin,Rock. Score and parts. 32 pages. Evelyn Stott #792308. Published by Evelyn Stott (A0.1192928).
$49.99 ≈
45.91€
The Call of the Sea Score
The Call of the Sea Score
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Alexander Safford
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The Call of the Sea Score
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North Summit Music Press, LLC
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.886270 Composed by Alexander Safford. 20th Century,Concert,Contemporary. Score and parts. 26 pages. North Summit Mu...
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String Orchestra - Level 4 - SKU: A0.886270 Composed by Alexander Safford. 20th Century,Concert,Contemporary. Score and parts. 26 pages. North Summit Music Press, LLC #1909149. Published by North Summit Music Press, LLC (A0.886270). Winner of the 2012 Merle J. Isaac Composition Competition. The Call of the Sea is a challenging, and energetic work that is engaging for all of the sections of the orchestra. While not specifically programmatic, the piece is meant to evoke a vague sense of the sea and its tumultuous nature. For fingering and position markings, the following system has been employed: dashes indicate shifts, numbers indicate suggested fingerings, and roman numerals indicate suggested positions.
$5.00 ≈
4.59€
MEGALOVANIA (from Undertale) for Orchestra
MEGALOVANIA (from Undertale) for Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Toby Fox
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Javier Martínez Maya
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MEGALOVANIA
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Arte Nova Music Lab
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download By Toby Fox. Arranged by Javier Martínez Maya. Score. 122 pages. Published by Arte N...
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Full Orchestra - Advanced Intermediate - Digital Download By Toby Fox. Arranged by Javier Martínez Maya. Score. 122 pages. Published by Arte Nova Music Lab
Undertale is a 2D role-playing video game created by indie developer Toby Fox. The player controls a child who has fallen into the Underground: a large, secluded region under the surface of the Earth, separated by a magic barrier. The player meets various monsters during the journey back to the surface. Some monsters might engage the player in a fight. The combat system involves the player navigating through mini-bullet hell attacks by the opponent. They can opt to pacify or subdue monsters in order to spare them instead of killing them. These choices affect the game, with the dialogue, characters, and story changing based on outcomes.
Outside of some artwork, Fox developed the entirety of the game by himself, including the script and music. The game took inspiration from several sources, including the Brandish, Mario & Luigi, and Mother role-playing series, bullet hell shooter series Touhou Project, role-playing game Moon: Remix RPG Adventure, and British comedy show Mr. Bean. Originally, Undertale was meant to be two hours in length and was set to be released in mid-2014. However, development was delayed over the next three years.
The game was released for Microsoft Windows and OS X in September 2015. It was also ported to Linux in July 2016, PlayStation 4 and PlayStation Vita in August 2017, the Nintendo Switch in September 2018, and Xbox One in March 2021. The game was acclaimed for its thematic material, intuitive combat system, musical score, originality, story, dialogue, and characters. The game sold over one million copies and was nominated for multiple accolades and awards. Severalgaming publications and conventions listed Undertale as game of the year. The first chapter of a related game, Deltarune, was released in October 2018.
Taken from https://en.wikipedia.org/wiki/Undertale
$60.00 ≈
55.11€
Hangs and Crashes - for Symphonic Band
Hangs and Crashes - for Symphonic Band
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Orchestre d'harmonie
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AVANCÉ
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Contemporain
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Jason McChristian
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Hangs and Crashes - for Sympho
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.886130 Composed by Jason McChristian. Contemporary. Score and parts. 310 pages. Jason Gary McChristian #2845743. Publis...
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Concert Band - Level 5 - SKU: A0.886130 Composed by Jason McChristian. Contemporary. Score and parts. 310 pages. Jason Gary McChristian #2845743. Published by Jason Gary McChristian (A0.886130). A hang is a computer term for the failure of a program to continue to respond to signals, causing the operating system to freeze. Hangs occur in different ways, but this work depicts two common symptoms of the hang: thrashing, the exhaustion of memory from rapidly exchanging data and infinite loop, where a sequence of instructions is in no condition to stop. The work ends with the death knell to any operating system, a crash aptly named, Blue Screen of Death. Depicting failing machines, this is music marked by frequent reboots, constant bleeps, bops, clicks, the occasional rude interruption, and makes use of ever-repeating musical figures to help depict an eternal state of stuck.
$120.00 ≈
110.21€
Chorale
Chorale
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Orchestre d'harmonie
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Contemporain
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Joseph Stribrny
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Chorale
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Joseph Stribrny
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SheetMusicPlus
Concert Band - SKU: A0.496600 Composed by Joseph Stribrny. Contemporary. Score and parts. 24 pages. Published by Joseph Stribrny (A0.496600). ...
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Concert Band - SKU: A0.496600 Composed by Joseph Stribrny. Contemporary. Score and parts. 24 pages. Published by Joseph Stribrny (A0.496600). This is a piece of music I composed for my high school alma mater. As of this upload however, there are no performances of this piece that have taken place. What sets this apart is the use of a sort of 'cantus firmus' melody in the third section with a familiar chord progression, as well as a woodwind fade out instead of a downbeat finish. Included in this purchase is a pdf of the full score as well as the parts for your band. An updated conductor's score will include a change in the staff sizes to fit the full page rather than to include two systems on one page.
$100.00 ≈
91.84€
Kernel Panic from HANGS AND CRASHES for Symphonic Band
Kernel Panic from HANGS AND CRASHES for Symphonic Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jason McChristian
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Kernel Panic from HANGS AND CR
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886157 Composed by Jason McChristian. Contemporary. Score and parts. 129 pages. Jason Gary McChristian #4354625. Publis...
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Concert Band - Level 4 - SKU: A0.886157 Composed by Jason McChristian. Contemporary. Score and parts. 129 pages. Jason Gary McChristian #4354625. Published by Jason Gary McChristian (A0.886157). A hang is a computer term for the failure of a program to continue to respond to signals, causing the operating system to freeze. Hangs occur in different ways, but this work depicts one common symptom of the hang: 'kernel panic,' a safety measure that stops the system from further data loss due to an internal error. Depicting failing machines, this is music marked by frequent reboots, constant bleeps, bops, clicks, the occasional rude interruption, and makes use of ever-repeating musical figures to help depict an eternal state of stuck.
$40.00 ≈
36.74€
Requiem
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
51.42€
NEW HORIZONS
NEW HORIZONS
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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John Michael Pekowski
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NEW HORIZONS
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John Michael Pekowski
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1317270 Composed by John Michael Pekowski. 21st Century,Classical,Thriller. 88 pages. John Michael Pekowski #905930. Pu...
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Concert Band - Level 4 - SKU: A0.1317270 Composed by John Michael Pekowski. 21st Century,Classical,Thriller. 88 pages. John Michael Pekowski #905930. Published by John Michael Pekowski (A0.1317270). In July of 2015, NASA’s New Horizons spacecraft skimmed past Pluto revealing a dynamic landscape. Important new data was collected, helping to piece together the history of a world with a patchwork geology featuring towering mountains, flowing glaciers, and plains of ice. I was inspired by the spirit of exploration. With this is mind, I arranged semi-symmetrical sets with varying densities into pitch topologies constrained by numerical relationships. These are juxtaposed next to each other, helping to suggest the patchwork geology of Pluto. As I was composing, I gave preference to fluidic voice-leading and dramatic exposition. I also had to end with a satisfying resolution because NASA’s mission has been such a success. In fact, New Horizons continues to explore objects in the outer solar system.Conductor's note: The (optional) last twelve bars are bit of an unintentional homage to sci-fi, but have their roots in the triplet pattern established in the introduction. In this piece I was using a narrower set list, and interestingly these types of hommages are more common within the simpler numerical permutations of smaller quantites.
$75.00 ≈
68.88€
Old Trace Scherzo
Old Trace Scherzo
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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John K
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Old Trace Scherzo
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John K. Evans
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1458476 Composed by John K. Evans. 20th Century,Traditional. 236 pages. John K. Evans #1037422. Published by John K. Ev...
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Concert Band - Level 4 - SKU: A0.1458476 Composed by John K. Evans. 20th Century,Traditional. 236 pages. John K. Evans #1037422. Published by John K. Evans (A0.1458476). Old Trace Scherzo is a scherzo with a short dramatic intro. Beyond the intro the rest of the piece keeps the 2-pulse triple feel in 6/8 meter and is in the normal form of a scherzo. The Old Trace was a system of animal paths used by Native Americans. The north end was near Fort Nashborough, TN and the south end was the Mississippi River near Natchez , MS. In the late 18th century, it was overland route between Nashville and the Mississippi River. President Thomas Jefferson improved the Old Trace for use as a postal road. The Old Trace survives today as the Natchez Trace, a 440-mile natinal park from Pasquo, TN to Natchez , MS. Download includes parts for a medium to large band. Baritone TC is included.
$115.00 ≈
105.62€
Infinite Loop from HANGS AND CRASHES for Symphonic Band
Infinite Loop from HANGS AND CRASHES for Symphonic Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jason McChristian
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Infinite Loop from HANGS AND C
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886156 Composed by Jason McChristian. Contemporary. Score and parts. 103 pages. Jason Gary McChristian #4352635. Publis...
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Concert Band - Level 4 - SKU: A0.886156 Composed by Jason McChristian. Contemporary. Score and parts. 103 pages. Jason Gary McChristian #4352635. Published by Jason Gary McChristian (A0.886156). A hang is a computer term for the failure of a program to continue to respond to signals, causing the operating system to freeze. Hangs occur in different ways, but this work depicts one common symptom of the hang: thrashing, the exhaustion of memory from rapidly exchanging data. Depicting failing machines, this is music marked by frequent reboots, constant bleeps, bops, clicks, the occasional rude interruption, and makes use of ever-repeating musical figures to help depict an eternal state of stuck.
$40.00 ≈
36.74€
Thrashing from HANGS AND CRASHES for Symphonic Band
Thrashing from HANGS AND CRASHES for Symphonic Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jason McChristian
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Thrashing from HANGS AND CRASH
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886145 Composed by Jason McChristian. Contemporary. Score and parts. 118 pages. Jason Gary McChristian #3362503. Publis...
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Concert Band - Level 4 - SKU: A0.886145 Composed by Jason McChristian. Contemporary. Score and parts. 118 pages. Jason Gary McChristian #3362503. Published by Jason Gary McChristian (A0.886145). A hang is a computer term for the failure of a program to continue to respond to signals, causing the operating system to freeze. Hangs occur in different ways, but this work depicts one common symptom of the hang: thrashing, the exhaustion of memory from rapidly exchanging data. Depicting failing machines, this is music marked by frequent reboots, constant bleeps, bops, clicks, the occasional rude interruption, and makes use of ever-repeating musical figures to help depict an eternal state of stuck.
$40.00 ≈
36.74€
Shadowland
Shadowland
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Orchestre
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AVANCÉ
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Film/TV
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Hans Zimmer, Lebo M, and Mark
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Brian Strohmetz
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Shadowland
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Brian Strohmetz
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1030571 Composed by Hans Zimmer, Lebo M, and Mark Mancina. Arranged by Brian Strohmetz. Broadway,Film/TV,Multicultura...
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Full Orchestra - Level 5 - SKU: A0.1030571 Composed by Hans Zimmer, Lebo M, and Mark Mancina. Arranged by Brian Strohmetz. Broadway,Film/TV,Multicultural,Musical/Show,World. Score and parts. 71 pages. Brian Strohmetz #633740. Published by Brian Strohmetz (A0.1030571). For Orchestra, Solo Vocalist and Choir Shadowland is a song written by Lebo M., Hans Zimmer and Mark Mancina for the musical The Lion King (1997), a stage adaptation of Disney's 1994 animated film of the same name. Based on the song Lea Halalela (Holy Land), a track featured on Lebo's Lion King-inspired concept album Rhythm of the Pride Lands (1995), Lebo composed the track with Zimmer, while both Lebo and Mancina contributed new lyrics to its melody. Lebo based the song's lyrics on his own experiences having been exiled from South Africa during apartheid, therefore imbuing Shadowland with themes about refugeeism and survival. Originally performed by Trinidadian-American singer and actress Heather Headley as Nala, and South African actress Tsidii Le Loka as Rafiki, roles both performers originated on stage, Shadowland narrates Nala's decision to leave the Pride Lands in search of a more habitable environment upon realizing that her homeland has grown dry and barren in the midst of Scar's reign. Taking place shortly after Nala rejects Scar's romantic advances, director Julie Taymor used the song to develop Nala into a stronger character for the stage adaptation, and identified Shadowland as her favorite among the production's original songs, believing its message and themes to be universal. Musically, Shadowland is a soul power ballad. Sung in both English and African languages, its instrumentation combines African percussion with European orchestration to create a more exotic sound while accompanying pop vocals and African chants; some critics have observed political themes such as feminism, injustice and the ecosystem throughout the song's lyrics. Shadowland has been mostly positively received by music and theatre critics; both Headley and actresses who replaced her in subsequent productions of the musical have been praised for their vocals and performances.
$74.99 ≈
68.87€
Hofbrauhaus
Hofbrauhaus
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Will Corbin
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Will Corbin
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Hofbrauhaus
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Will Corbin
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1414120 By Will Corbin. By Wilhelm Gabriel. Arranged by Will Corbin. Traditional. 16 pages. Will Corbin #995891. Publis...
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Concert Band - Level 3 - SKU: A0.1414120 By Will Corbin. By Wilhelm Gabriel. Arranged by Will Corbin. Traditional. 16 pages. Will Corbin #995891. Published by Will Corbin (A0.1414120). First: Yes, I know there's supposed to be an umlaut. It's a pain to track down on an English system, and the software didn't produce the umlaut A the way it was supposed to. Use your imagination. If you've ever been to the Munich (Munchen, auch mit umlaut) Oktoberfest, this song is everywhere (as it is with most Oktoberfest celebrations everywhere). But it's always a part of the program at the Munich Hofbrauhaus.The song was written in Berlin in 1935. Wilhelm Wiga Gabriel wrote other songs as well, mostly for the Nazis. So he's pretty much written out of history and the rest of his work appropriately relegated to the dustbin of the ages.
$25.00 ≈
22.96€
Magic In The Air (french Version)
Magic In The Air (french Version)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Adama Fanny, Adil Khayat, Alex
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Benoît Barrail
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Magic In The Air
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Benoît Barrail
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1079663 Composed by Adama Fanny, Adil Khayat, Alex Papaconstantinou, Bilal Hajji, Etienne Bouebi Kohou, John Mamann, Na...
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Concert Band - Level 3 - SKU: A0.1079663 Composed by Adama Fanny, Adil Khayat, Alex Papaconstantinou, Bilal Hajji, Etienne Bouebi Kohou, John Mamann, Nadir Khayat, Narcisse Sodoua, and Salif Traore. Arranged by Benoît Barrail. 20th Century,Contemporary,Hip-Hop,Pop,R & B,Wedding. Score and parts. 32 pages. Benoît Barrail #683844. Published by Benoît Barrail (A0.1079663). Arranged for Concert Band. Magic in the Air is a 2014 single by Ivorian musical group Magic System, featuring Moroccan singer Chawki and produced by Moroccan producer RedOne. The track also appears on Magic system's album Africainement vôtre, released on 19 May 2014. The song was released in March 2014 to coincide with preparations for the 2014 FIFA World Cup scheduled for 12 June to 13 July of the same year. Despite the English title of the song, its lyrics are almost entirely in French. The single became a commercial hit in France and Belgium, earning significant airplay in stadiums during football matches. Magic in the Air est un single de 2014 du groupe musical ivoirien Magic System , mettant en vedette le chanteur marocain Chawki et produit par le producteur marocain RedOne . Le morceau apparaît également sur l'album Africainement vôtre de Magic System , sorti le 19 mai 2014. La chanson est sortie en mars 2014 pour coïncider avec les préparatifs de la Coupe du monde de football 2014 prévue du 12 juin au 13 juillet de la même année. Malgré le titre anglais de la chanson, ses paroles sont presque entièrement en français. Le single est devenu un succès commercial en France et en Belgique, bénéficiant alors d’une diffusion importante dans les stades lors des matchs de football. Arrangé pour Orchestre d'Harmonie. Ce morceau peut aussi être joué par des orchestres festifs de type fanfares ou bandas. www.benoitbarrail.com.
$49.99 ≈
45.91€
Piano Concerto No. 1 - SECOND movement [score and parts]
Piano Concerto No. 1 - SECOND movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
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Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00 ≈
30.31€
Piano Concerto No. 1 - FIRST movement [score and parts]
Piano Concerto No. 1 - FIRST movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
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Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00 ≈
30.31€
Piano Concerto No. 1 - THIRD movement [score and parts]
Piano Concerto No. 1 - THIRD movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
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Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00 ≈
30.31€
Piano Concerto No. 1 - Score Only
Piano Concerto No. 1 - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score O
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Mar...
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Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00 ≈
22.96€
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System Of A Down
