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20 partitions trouvées
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1
Showtime!
Showtime!
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Orchestre
#
AVANCÉ
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Danny Elfman
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Patrick Sheehan
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rock selections
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Showtime!
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1270415 By Danny Elfman. By Danny Elfman. Arranged by Patrick Sheehan. Film/TV,Holiday. Score and Parts. 67 pages. Pa...
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Full Orchestra - Level 5 - SKU: A0.1270415 By Danny Elfman. By Danny Elfman. Arranged by Patrick Sheehan. Film/TV,Holiday. Score and Parts. 67 pages. Patrick Sheehan #862812. Published by Patrick Sheehan (A0.1270415). Transcribed from the soundtrack of the 1989 Geffen Company film “Beetlejuiceâ€INSTRUMENTATION: Piccolo, Flute I, Flute II, Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Contrabass Clarinet (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba I, Tuba II, Snare Drum, Bass Drum, Crash Cymbals, Triangle, Claves, Xylophone, Calliope I, Calliope II, Celesta, Piano, Organ, Violin I, Violin II, Viola, Cello, ContrabassABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
Chevalier De Sangreal
Chevalier De Sangreal
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Orchestre
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AVANCÉ
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Hans Zimmer
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Chevalier De Sangreal
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www.studio-orchestrations.com
#
SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Rel...
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Full Orchestra - Level 5 - SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275). From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail. No spoilers however. If you've not seen it, then add it to your playlist!The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score. It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.This orchestration emulkates as closely as possible the soundtrack. Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings. SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate). However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.INSTRUMENTATON:2 Flutes2 Oboes2 Clarinets2 Bassoons1 Contra-Bassoon (Optional)4 Horns2 Trumpets3 Trombones1 TubaTimpani2 Percussion[Cymbals/Suspp.Cymbal/Bass Drum/Tubular Bells]KeyboardSATB Choir [Optional]Strings.
$150.00 ≈
138.44€
Brahms Sonata in F-minor, Opus 5, 3rd movement, as a Symphony
Brahms Sonata in F-minor, Opus 5, 3rd movement, as a Symphony
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Orchestre
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AVANCÉ
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Classique
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Aere Greenway
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Aere Greenway
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Brahms Sonata in F-minor, Opus
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Aere R Greenway
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1272505 By Aere Greenway. By Johannes Brahms. Arranged by Aere Greenway. Classical,Romantic Period. Score and Parts. ...
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Full Orchestra - Level 5 - SKU: A0.1272505 By Aere Greenway. By Johannes Brahms. Arranged by Aere Greenway. Classical,Romantic Period. Score and Parts. 46 pages. Aere R Greenway #864730. Published by Aere R Greenway (A0.1272505). As a life-long fan of the music of Brahms, I have wished there were more than his four symphonies to enjoy. Â So I set about orchestrating his sonata for piano, opus 5, as a symphony. Â I doing so, I've seen many things in his piano music, that suggest he was thinking orchestrally. Â And this is a composition from his youth (1854). Â In fact, I have been repeatedly amazed at how many simultaneous, independent parts, he has put into a piano solo. Â I haven't needed to create anything. Â It's all Brahms, coming through. Â Perhaps, if Brahms weren't so overwhelmed by the genius of Beethoven, who came before, he might have made this his first symphony. Â And you get to hear its third movement now. Â As with the tradition of Beethoven, the 3rd movement is a scherzo. Â You can think of it (at least in the beginning, and end), as the waltz of the gargoyles. Â Enjoy!Brahms has long been a staple of concert-going audiences, and with this piece, you can perform a new symphony of Brahms, created from his piano sonata in F-minor, orchestrated into a symphony by Aere.
$47.97 ≈
44.27€
Brahms Sonata in F-minor, Opus 5, 2nd movement, as a Symphony
Brahms Sonata in F-minor, Opus 5, 2nd movement, as a Symphony
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Orchestre
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AVANCÉ
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Classique
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Aere Greenway, via MuseScore
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Aere Greenway
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Brahms Sonata in F-minor, Opus
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Aere R Greenway
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1267868 By Aere Greenway, via MuseScore. By Johannes Brahms. Arranged by Aere Greenway. Classical,Romantic Period. Sc...
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Full Orchestra - Level 5 - SKU: A0.1267868 By Aere Greenway, via MuseScore. By Johannes Brahms. Arranged by Aere Greenway. Classical,Romantic Period. Score and Parts. 65 pages. Aere R Greenway #860416. Published by Aere R Greenway (A0.1267868). As a life-long fan of the music of Brahms, I have wished there were more than his four symphonies to enjoy. Â So I set about orchestrating his sonata for piano, opus 5, as a symphony. Â I doing so, I've seen many things in his piano music, that suggest he was thinking orchestrally. Â And this is a composition from his youth (1854). Â In fact, I have been repeatedly amazed at how many simultaneous, independent parts, he has put into a piano solo. Â I haven't needed to create anything. Â It's all Brahms, coming through. Â Perhaps, if Brahms weren't so overwhelmed by the genius of Beethoven, who came before, he might have made this his first symphony. Â And your orchestra can perform it for your audiences to enjoy!Brahms has long been a staple of concert-going audiences, and with this piece, you can perform a new symphony of Brahms, created from his piano sonata in F-minor, orchestrated into a symphony by Aere.
$47.97 ≈
44.27€
Rosary Sonatas: The Descent of the Holy Spirit
Rosary Sonatas: The Descent of the Holy Spirit
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Orchestre
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AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Descent of
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1081709 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 5 - SKU: A0.1081709 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 78 pages. JMJ Arrangements #685832. Published by JMJ Arrangements (A0.1081709). When the day of Pentecost had come, they were all together in one place. And suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit and began to speak in other tongues, as the Spirit gave them utterance. Now there were dwelling in Jerusalem Jews, devout men from every nation under heaven. And at this sound the multitude came together, and they were bewildered, because each one heard them speaking in his own language. And they were amazed and wondered, saying, 'Are not all these who are speaking Galileans? And how is it that we hear, each of us in his own native language? Par′thians and Medes and E′lamites and residents of Mesopota′mia, Judea and Cappado′cia, Pontus and Asia, Phryg′ia and Pamphyl′ia, Egypt and the parts of Libya belonging to Cyre′ne, and visitors from Rome, both Jews and proselytes, Cretans and Arabians, we hear them telling in our own tongues the mighty works of God.'†--Acts 2:1-11 (RSV-CE).
$19.99 ≈
18.45€
Thierry Pélicant: Concerto for contrabass and orchestra, score only
Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik...
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Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95 ≈
35.95€
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik ...
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Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95 ≈
27.64€
Missa Solemnis, op. 27 (parts)
Missa Solemnis, op. 27 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #8...
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Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00 ≈
147.67€
Missa Solemnis, op. 27 - Score Only
Missa Solemnis, op. 27 - Score Only
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99 ≈
79.36€
One Sows for the Benefit of Another Age - Orchestra
One Sows for the Benefit of Another Age - Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Kyle Vanderburg
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One Sows for the Benefit of An
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NoteForge
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteF...
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Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteForge (A0.1002835). I started writing what would become One Sows for the Benefit of Another Age in 2013, as I was sketching ideas for what became a piano trio. I liked what I had created, but two things became evident: The piece was destined to be for orchestra, and I was not good enough as a composer to finish it. Over the next seven years, I kept returning to this piece in my spare time, adding some sections, tweaking some others, and at some point I gained the experience to finish it. But the trade-off was that I no longer had the time. At least until Spring of 2020, when the COVID-19 pandemic put most of my projects on hold, and I was able to return to--and finish--the work.The title came last. My ideas while I was writing centered around Americana (I was listening to a lot of Copland, Barber, and Ives) and infusing my history and experience in the Ozarks and on the plains. I knew I wanted to make use of the idea of illumination, of dawn. I wanted to start in the shadows and end aglow. The darkness was such a defining feature that my working title was Aegri Somnia, loosely translated from Latin as troubled dreams. As I continued working, I realized that the focus wasn't the darkness--the focus was the change.I discuss change a lot in my teaching. Students often see change as transformative change--massive, radical, sweeping change, like winning the lottery, or winning an audition. Transformative change is easy--it usually involves hoping for a situation or a Deus ex Machina, and if it happens, it benefits us immediately. Iterative change, however--small, repeated, incremental change that builds up over time--is hard. An extra half-hour of work every day, a little extra contributed to savings every month, these changes add up over time and become significant. But it requires intention and action, and it doesn't reap immediate benefits. It may not end up benefitting us at all.One Sows changes iteratively. It starts from a dark place, but is sprinkled with seeds of hope. A descending motive introduced in the violins brings us out of the darkness, albeit slowly. The idea spreads, develops, and eventually becomes part of a new idea, a new paradigm, that takes over.In searching for a title, I came across Serit ut alteri saeclo prosit, North Dakota's Latin state motto, whose English translation is the title of this work. It's a recent addition to the North Dakota statutes, but a timeless message. Our work isn't finished yet.
$49.99 ≈
46.14€
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Individual Parts 1 (Woodwinds and Brass)
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Individual Parts 1 (Woodwinds and Brass)
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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The Satyricon, A Balletic Roma
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730492 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 484 pages. James Nathaniel Ho...
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Full Orchestra - Level 5 - SKU: A0.730492 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 484 pages. James Nathaniel Holland #4800547. Published by James Nathaniel Holland (A0.730492). Advisory: Ballet story contains adult situation and themes. Not suitable for audiences or performers under the age of 18. INDIVIDUAL INSTRUMENT PARTS 1 (Woodwinds and Brass). Piano Score, Full Orchestral Score, Individual Parts (Part 2) Sold Separately. American composer, James Nathaniel Holland, brings a ballet adapted from the first century Roman novel by Gaius Petronius (cir. 50 A.D.) to the stage. An entertaining ballet for adults (not suitable for general audiences under the age of 18), celebrating the male ballet dancer's physique and a laugh at our own human sexuality. The comedy is a romp of three gay protagonists and their adventures and misadventure in ancient Rome and their characters; an ex-gladiator, Enclopius, his young lover, Giton, and an upper class snob, Ascyltos. It should also be said that this ballet is not pure gratuitous vulgarity, there is a interweaving story containing a deeper message of real human relationships, the satire of ancient Roman archetypes, and a humorous glimpse into ancient Roman life that still rings true even 2,000 plus years later. Regardless of the subject matter, Holland's original music is fantastic tapestry of counterpoint, set in a sort of atonal-ism and heavy percussion, evoking a period of history no longer available to us. Although not all cues and counterpoint is contained here, this piano score is extremely useful for either a performance with 2 pianos and percussion and a dance company, a director's/choreographer's score, or a concise conductor's score, or rehearsal score. Measure numbers line up with the full score. An orchestral, performance CD is available for those company's on a budget.
$70.25 ≈
64.84€
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Full Orchestral Score
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Full Orchestral Score
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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The Satyricon, A Balletic Roma
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730493 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 370 pages. James Nathaniel Ho...
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Full Orchestra - Level 5 - SKU: A0.730493 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 370 pages. James Nathaniel Holland #4800668. Published by James Nathaniel Holland (A0.730493). Advisory: Ballet story contains adult situation and themes. Not suitable for audiences or performers under the age of 18. FULL ORCHESTRAL SCORE (with stage directions). Piano Score, Individual Parts (Parts 1 and 2) Sold Separately. American composer, James Nathaniel Holland, brings a ballet adapted from the first century Roman novel by Gaius Petronius (cir. 50 A.D.) to the stage. An entertaining ballet for adults (not suitable for general audiences under the age of 18), celebrating the male ballet dancer's physique and a laugh at our own human sexuality. The comedy is a romp of three gay protagonists and their adventures and misadventure in ancient Rome and their characters; an ex-gladiator, Enclopius, his young lover, Giton, and an upper class snob, Ascyltos. It should also be said that this ballet is not pure gratuitous vulgarity, there is a interweaving story containing a deeper message of real human relationships, the satire of ancient Roman archetypes, and a humorous glimpse into ancient Roman life that still rings true even 2,000 plus years later. Regardless of the subject matter, Holland's original music is fantastic tapestry of counterpoint, set in a sort of atonal-ism and heavy percussion, evoking a period of history no longer available to us. Although not all cues and counterpoint is contained here, this piano score is extremely useful for either a performance with 2 pianos and percussion and a dance company, a director's/choreographer's score, or a concise conductor's score, or rehearsal score. Measure numbers line up with the full score. An orchestral, performance CD is available for those company's on a budget.
$32.50 ≈
30.00€
Theme From "bewitched"
Theme From "bewitched"
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Orchestre
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AVANCÉ
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Film/TV
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Howard Greenfield and Jack Kel
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Patrick Sheehan
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Theme From "bewitched"
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Patrick Sheehan
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.802751 Composed by Howard Greenfield and Jack Keller. Arranged by Patrick Sheehan. Film/TV. Score and parts. 51 pages...
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Large Ensemble - Level 5 - SKU: A0.802751 Composed by Howard Greenfield and Jack Keller. Arranged by Patrick Sheehan. Film/TV. Score and parts. 51 pages. Patrick Sheehan #409818. Published by Patrick Sheehan (A0.802751). Transcription as recorded for the television series â??Bewitchedâ?. INSTRUMENTATION: Flute I, Flute II, Alto Saxophone I (Eb), Alto Saxophone II (Eb), Tenor Saxophone I (Bb), Tenor Saxophone II (Bb), Baritone Saxophone (Eb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Trumpet IV (Bb), Trombone I, Trombone II, Trombone III, Trombone IV (Bass), Celesta, Hammond B-3 Organ, Glockenspiel, Xylophone, Vibraphone, Drumset, Harp, Violin I, Violin II, Viola, Violoncello, Contrabass. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop and rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$25.00 ≈
23.07€
Pure Imagination
Pure Imagination
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Orchestre
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AVANCÉ
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Mormon Tabernacle Choir
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Patrick Sheehan
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rock selections
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Pure Imagination
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1276496 By Mormon Tabernacle Choir. By Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Chil...
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Full Orchestra - Level 5 - SKU: A0.1276496 By Mormon Tabernacle Choir. By Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contemporary,Film/TV,Musical/Show. Score and Parts. 92 pages. Patrick Sheehan #868208. Published by Patrick Sheehan (A0.1276496). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Piccolo, Flute I, Flute II, Oboe I, Oboe II, Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, Solo Baritone Voice, Celesta, Glockenspiel, Vibraphone, Timpani, Harp, Violin I, Violin II, Viola, Cello, Electric Bass / Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
I've Got A Golden Ticket
I've Got A Golden Ticket
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Orchestre
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AVANCÉ
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Anthony Newley and Leslie Bric
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Patrick Sheehan
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rock selections
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I've Got A Golden Ticket
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1275991 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Film/TV,Musica...
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Full Orchestra - Level 5 - SKU: A0.1275991 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Film/TV,Musical/Show. Score and Parts. 118 pages. Patrick Sheehan #867732. Published by Patrick Sheehan (A0.1275991). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Piccolo, Flute I, Flute II, Oboe I, Oboe II, English Horn (F), Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, Solo Baritone Voice, Boy Soprano, Glockenspiel, Timpani, Snare Drum, Violin I, Violin II, Viola, Cello, Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
The Wondrous Boat Ride
The Wondrous Boat Ride
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Orchestre
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AVANCÉ
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Anthony Newley and Leslie Bric
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Patrick Sheehan
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rock selections
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The Wondrous Boat Ride
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277920 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contemporary,F...
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Full Orchestra - Level 5 - SKU: A0.1277920 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contemporary,Film/TV,Musical/Show. Score and Parts. 107 pages. Patrick Sheehan #869621. Published by Patrick Sheehan (A0.1277920). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Piccolo, Flute I, Flute II, Oboe I, Oboe II, Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, Solo Baritone Voice, Glockenspiel, Vibraphone, Chimes, Woodblocks, Violin I, Violin II, Viola, Violoncello, Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
Lucky Charlie
Lucky Charlie
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Orchestre
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AVANCÉ
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Anthony Newley and Leslie Bric
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Patrick Sheehan
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rock selections
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Lucky Charlie
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1274951 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Film/TV,Musica...
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Full Orchestra - Level 5 - SKU: A0.1274951 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Film/TV,Musical/Show. Score and Parts. 106 pages. Patrick Sheehan #867065. Published by Patrick Sheehan (A0.1274951). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Flute I, Flute II, Oboe I, Oboe II,  English Horn (F), Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Bass Clarinet (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, Slugworth, Glockenspiel, Timpani, Piano, Harp, Violin I, Violin II, Viola, Cello, Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
Willy Wonka Theme
Willy Wonka Theme
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Orchestre
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AVANCÉ
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Buckethead
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Patrick Sheehan
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rock selections
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Willy Wonka Theme
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1272793 By Buckethead. By Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contempo...
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Full Orchestra - Level 5 - SKU: A0.1272793 By Buckethead. By Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contemporary,Film/TV,Musical/Show. Score and Parts. 75 pages. Patrick Sheehan #864990. Published by Patrick Sheehan (A0.1272793). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Flute I, Flute II, Oboe I, Oboe II, Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb),Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, Snare Drum, Bass Drum, Glockenspiel, Celesta, Piano, Harp, Violin I, Violin II, Viola, Cello, Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
Cheer Up, Charlie
Cheer Up, Charlie
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Orchestre
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AVANCÉ
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Anthony Newley and Leslie Bric
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Patrick Sheehan
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rock selections
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Cheer Up, Charlie
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1274759 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Film/TV,Musica...
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Full Orchestra - Level 5 - SKU: A0.1274759 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Film/TV,Musical/Show. Score and Parts. 48 pages. Patrick Sheehan #866911. Published by Patrick Sheehan (A0.1274759). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Flute I, Flute II, Oboe I, Oboe II,  Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, Solo Alto Voice, Celesta, Vibraphone, Harp, Violin I, Violin II, Viola, Cello, Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
Charlie's Paper Run
Charlie's Paper Run
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Orchestre
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AVANCÉ
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Anthony Newley and Leslie Bric
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Patrick Sheehan
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rock selections
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Charlie's Paper Run
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Patrick Sheehan
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1273820 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contemporary,F...
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Full Orchestra - Level 5 - SKU: A0.1273820 Composed by Anthony Newley and Leslie Bricusse. Arranged by Patrick Sheehan. Broadway,Children,Contemporary,Film/TV,Musical/Show. Score and Parts. 38 pages. Patrick Sheehan #865948. Published by Patrick Sheehan (A0.1273820). Transcribed from the soundtrack of the 1971 Paramount Pictures film “Willy Wonka and the Chocolate Factoryâ€INSTRUMENTATION: Flute I, Flute II, Oboe I, Oboe II, English Horn (F), Bassoon I, Bassoon II, Clarinet I (Bb), Clarinet II (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba, tinker man, Glockenspiel, Vibraphone, Timpani, Bell Tree, Harp, Violin I, Violin II, Viola, Cello, Contrabass.ABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00 ≈
46.15€
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