Partitions Numériques de A Moment Like This pour Orchestre

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A Moment Like This
Non classifié 9

Piano & claviers
Piano seul 12
Orgue 2
Piano, Voix 1
Piano Quintette: piano, 2 violons, alto, violoncelle 1

Guitares
Guitare 2

Voix
Chorale SATB 1
Chorale SSAA 1

Vents
Saxophone Tenor et Piano 1
Clarinette 1
Flûte traversière et Piano 1
2 Saxophones (duo) 1

Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 3
Ensemble de Trombones 2
Trompette 2
Euphonium, Piano (duo) 2
Quatuor de Cuivres : 2 trompettes, trombone, tuba 1

Trombone et Piano 1
Tuba 1

+ 2 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 4
2 Altos (duo) 1
Violon et Piano 1

Percussions & orchestre
Orchestre à Cordes 12
Orchestre d'harmonie 4
Orchestre 3

Ensemble Jazz 2
Piano et Orchestre 1

Orchestre de chambre 1
Ensemble de Percussions 1

+ 2 instrumentations

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A Moment Like This

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3 partitions trouvées

Homage to O'Keeffe for Orchestra

Homage to O'Keeffe for Orchestra #Orchestre #AVANCÉ #Sy Brandon #Homage to O'Keeffe for Orchest #Sy Brandon #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Publi...(+)

Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia Oâ€™Keeffeâ€™s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.

$39.99

Scenes from 'The Crucible' for Orchestra

Scenes from 'The Crucible' for Orchestra #Orchestre #AVANCÉ #Contemporain #Malcolm D Robertson #Scenes from 'The Crucible' for #Mr Malcolm D Robertson #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.927988 Composed by Malcolm D Robertson. Contemporary. 75 pages. Mr Malcolm D Robertson #5741511. Published by Mr Malc...(+)

Full Orchestra - Level 5 - SKU: A0.927988 Composed by Malcolm D Robertson. Contemporary. 75 pages. Mr Malcolm D Robertson #5741511. Published by Mr Malcolm D Robertson (A0.927988). I'd long wanted to compose an opera based on Arthur Miller's masterpiece based around the Salem witchcraft trials in the American colonies in 1692. Knowing that this was unlikely to come to fruition, nevertheless I sketched out some ideas just in case, which I turned into a 3 movement work for a local orchestra in 1999 for performance at their concert in September 2000. During January - March 2020 I revised the work for a larger orchestra adding 2 more movements (nos 3 & 4) and revising the existing movements.Â TheÂ openingÂ movementÂ isÂ intendedÂ toÂ beÂ theÂ PreludeÂ toÂ theÂ opera.Â TheÂ 2ndÂ movementÂ theÂ PreludeÂ toÂ theÂ tenseÂ 3rdÂ Act.Â TheÂ 3rdÂ movementÂ takesÂ placeÂ atÂ theÂ climacticÂ momentÂ ofÂ ActÂ 3,Â whenÂ JohnÂ Proctor'sÂ valiantÂ andÂ desperateÂ attemptÂ toÂ exposeÂ AbigailÂ Williams'Â forÂ whatÂ sheÂ isÂ backfires,Â leadingÂ toÂ hisÂ arrest.Â TheÂ 4thÂ movementÂ opensÂ withÂ theÂ Hymn/PsalmÂ associatedÂ withÂ theÂ peopleÂ ofÂ SalemÂ andÂ continuesÂ withÂ theÂ reconciliationÂ inÂ prisonÂ betweenÂ JohnÂ ProctorÂ andÂ hisÂ wifeÂ Elizabeth.TheÂ 5thÂ andÂ finalÂ movementÂ accompaniesÂ JohnÂ Proctor'sÂ marchÂ toÂ executionÂ havingÂ noblyÂ tornÂ upÂ hisÂ confessionÂ ofÂ witchcraft.Â TheÂ Hymn/PsalmÂ returnsÂ beforeÂ reminiscencesÂ ofÂ theÂ openingÂ PreludeÂ returnÂ endingÂ theÂ workÂ inÂ aÂ senseÂ ofÂ uneasyÂ peace.Â Parts can be made available upon request.

$20.99

Battle Beyond The Stars - Main Theme - Score Only

Battle Beyond The Stars - Main Theme - Score Only #Orchestre #AVANCÉ #Film/TV #James Horner #Chris Siddall #Battle Beyond The Stars - Main #Chris Siddall Music Publishing #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1318829 Composed by James Horner. Arranged by Chris Siddall. Film/TV. 12 pages. Chris Siddall Music Publishing #90746...(+)

Full Orchestra - Level 5 - SKU: A0.1318829 Composed by James Horner. Arranged by Chris Siddall. Film/TV. 12 pages. Chris Siddall Music Publishing #907464. Published by Chris Siddall Music Publishing (A0.1318829). 1980â€™s Battle Beyond the Stars saw James Horner explode onto the Hollywood scoring scene. Whilst it wasnâ€™t the first movie he scored, it was certainly the one that made everyone sit up and pay attention, and the exuberant writing most likely led to his appointment as composer on Star Trek II: The Wrath of Khan. Â In fact, Battle Beyond the Stars is also where Horner made the acquaintance of then art director James Cameron, with the pair later collaborating on Aliens, Titanic and Avatar. Several moments within the Battle Beyond the Stars score will sound very familiar to fans of Hornerâ€™s Star Trek and Aliens scores!Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!

$9.99

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