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Vous avez sélectionné:
De Do Do Do, De Da Da Da
Orchestre de chambre
Partitions à imprimer
7 partitions trouvées
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1
Feira De Mangaio
Feira De Mangaio
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Orchestre de chambre
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FACILE
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Maria Da Gloria Gadelha and Se
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Matheus Felix
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Feira De Mangaio
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Matheus Felix
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1365297 Composed by Maria Da Gloria Gadelha and Severino Dias De Oliveira. Arranged by Matheus Felix. Chamber,Mult...
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Chamber Orchestra - Level 2 - SKU: A0.1365297 Composed by Maria Da Gloria Gadelha and Severino Dias De Oliveira. Arranged by Matheus Felix. Chamber,Multicultural,World. 6 pages. Matheus Felix #949615. Published by Matheus Felix (A0.1365297). Arranjo de Feira de Mangaio para Cordas, Flauta, Clarinete e Percussão:Este vibrante arranjo da tradicional música nordestina Feira de Mangaio transporta os ouvintes para um cenário pitoresco, repleto de cores e energia pulsante. As cordas introduzem a peça com uma atmosfera calorosa, evocando as raÃzes culturais da canção. A melodia é então enriquecida pela flauta, que dança com vivacidade, trazendo um toque lúdico e animado. O clarinete acrescenta uma camada expressiva, transmitindo a riqueza das nuances melódicas e adicionando um elemento de nostalgia à composição. A percussão, vital e pulsante, fornece o ritmo envolvente caracterÃstico da música regional brasileira, dando vida à feira imaginária que a canção celebra. A interação entre os instrumentos cria uma sinergia encantadora, capturando a essência festiva da Feira de Mangaio. As transições fluidas entre as seções e os momentos de destaque individual contribuem para a dinâmica envolvente da interpretação. A cada nota, este arranjo convida o público a mergulhar na riqueza cultural e musical do Nordeste brasileiro, exalando a alegria contagiante de uma feira em pleno vigor.
$49.99 ≈
£37.98
The Earth In Heart (O Cio Da Terra)
The Earth In Heart (O Cio Da Terra)
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Orchestre de chambre
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INTERMÉDIAIRE
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Francisco Buarque De Holanda a
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Vinicius Louzada
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The Earth In Heart
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Vinicius Louzada
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1367634 Composed by Francisco Buarque De Holanda and Milton Silva Campos Do Nascimento. Arranged by Vinicius Louza...
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Chamber Orchestra - Level 3 - SKU: A0.1367634 Composed by Francisco Buarque De Holanda and Milton Silva Campos Do Nascimento. Arranged by Vinicius Louzada. Multicultural,Pop,World. 23 pages. Vinicius Louzada #952008. Published by Vinicius Louzada (A0.1367634). This arrangement was created for a concert in honor of the composer and singer Milton Nascimento, and can be performed in ceremonies, concerts and recitals. Arrangement for chamber orchestra.
$49.99 ≈
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Triskel (Orff Instruments & Chamber Orchestra) - Score Only
Triskel (Orff Instruments & Chamber Orchestra) - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Rudesindo Soutelo
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Triskel
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Publisher by Rudesindo Soutelo
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1230983 Composed by Rudesindo Soutelo. Arranged by Orff Instruments & Chamber Orchestra (C Score). 21st Century,Ce...
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Chamber Orchestra - Level 3 - SKU: A0.1230983 Composed by Rudesindo Soutelo. Arranged by Orff Instruments & Chamber Orchestra (C Score). 21st Century,Celtic,Chamber,Children,Classical,Irish. 47 pages. Publisher by Rudesindo Soutelo #826603. Published by Publisher by Rudesindo Soutelo (A0.1230983). Ao Grupo Instrumental da EB de V.P. de Âncora e à Orquestra ARTEAMRudesindo Soutelo:Triskel (2023) for Orff Instruments and Chamber Orchestra [ca. 7'42]O eixo do mundo / The axis of the worldPremière: 16-V-2023. Teatro dos Bombeiros de Vila Praia de Âncora (Portugal). Int.: Grupo Instrumental Orff da EB de V.P. de Âncora (Prof. Manuela Moura) e Orquestra ARTEAM de Viana do Castelo. Dir.: Diogo Costa.ISWC: T-315.743.482-3ISMN: 979-0-707704-10-3Páginas de amostra / Sample pages: https://www.researchgate.net/publication/370676001=oOo=The Triskel is present in many ancient cultures but it is in the Celtic culture where it has acquired a greater prominence. It represents the power of the Sun, the axis of the world, the original matrix. It is an allegory of the number 3; of the past, present and future; of the Christian Trinity. It evokes the differences in the unity of the great whole, the Universe.The work was originally composed to integrate an Instrumental Group Orff (Glockenspiel Soprano and Alto, Metallophones and Xylophones Soprano, Alto and Bass), from the General Elementary School, as soloists in a Chamber Orchestra. The organising complex of the work is [4 (2, 2), 3 (2, 1)].There is, also, an edition for Marimba and Chamber Orchestra.=oOo=O Triskel está presente em muitas culturas antigas, mas é na cultura celta onde adquiriu um maior relevo. Representa o poder do Sol, o eixo do mundo, a matriz original. É uma alegoria do número 3; do passado, presente e futuro; da Trindade cristã. Evoca as diferenças na unidade do grande todo, o Universo.A obra foi composta originalmente para integrar um Grupo Instrumental Orff (Glockenspiel Soprano e Alto, Metalofones e Xilofones Soprano, Alto e Baixo), do Ensino Básico geral, como solistas de uma Orquestra de Câmara. O complexo organizador da obra é [4 (2, 2), 3 (2, 1)].Existe, ainda, uma edição para Marimba e Orquestra de Câmara.
$10.00 ≈
£7.60
Mitridate, rè di Ponto, K. 87 - Se viver non degg'io (Arr. James Strauss)
Mitridate, rè di Ponto, K. 87 - Se viver non degg'io (Arr. James Strauss)
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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James Strauss
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James Strauss
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Mitridate, rè di Ponto,
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James Strauss
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1118022 By James Strauss. By Wolfgang Amadeus Mozart. Arranged by James Strauss. 19th Century,Chamber,Classical,Ea...
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Chamber Orchestra - Level 3 - SKU: A0.1118022 By James Strauss. By Wolfgang Amadeus Mozart. Arranged by James Strauss. 19th Century,Chamber,Classical,Early Music. Score and Parts. 33 pages. James Strauss #719533. Published by James Strauss (A0.1118022). Mitridate, re di Ponto (MitrÃdates, Rei do Ponto), K. 87 (74a), é uma ópera séria em três atos do jovem Wolfgang Amadeus Mozart. O libreto é de Vittorio Amedeo Cigna-Santi [it], depois da tradução italiana de Giuseppe Parini da peça Mithridate de Jean Racine. Se viver non degg'io) apresentou aqui um arranjo feito para flauta, clarinete e Orquestra.
$49.99 ≈
£37.98
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 ≈
£42.54
Happy We Chorus orchestral parts and score
Happy We Chorus orchestral parts and score
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Orchestre de chambre
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INTERMÉDIAIRE
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Kim Kirkman
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Kim Kirkman
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Happy We Chorus orchestral par
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Kim Kirkman
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1410579 By Kim Kirkman. By George Frideric Handel. Arranged by Kim Kirkman. Baroque,Opera. 7 pages. Kim Kirkman #9...
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Chamber Orchestra - Level 3 - SKU: A0.1410579 By Kim Kirkman. By George Frideric Handel. Arranged by Kim Kirkman. Baroque,Opera. 7 pages. Kim Kirkman #992999. Published by Kim Kirkman (A0.1410579). There are several versions of Acis and Galatea. In some the orchestral parts do not include the 'Happy We' chorus that happens instead of the da capo of the aria.I have written out the parts here.Includes score and correct bar numbers (replacing bars 53 onwards).You're welcome! haha.
$9.99 ≈
£7.59
Humoresque for Flute Ensemble
Humoresque for Flute Ensemble
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Antonin Dvorak
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Emiliano Bernagozzi
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Humoresque for Flute Ensemble
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Emiliano Bernagozzi
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.883057 Composed by Antonin Dvorak. Arranged by Emiliano Bernagozzi. Romantic Period. Score and parts. 10 pages. Em...
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Chamber Orchestra - Level 3 - SKU: A0.883057 Composed by Antonin Dvorak. Arranged by Emiliano Bernagozzi. Romantic Period. Score and parts. 10 pages. Emiliano Bernagozzi #6239535. Published by Emiliano Bernagozzi (A0.883057). Tratta da una raccolta di brevi composizioni per pianoforte intitolata Humoresque pubblicata nell'autunno del 1847, l' Humoresque n. 7 è sicuramente uno dei brani brevi per musica classica più eseguiti al mondo. Arrangiamento per ensemble di flauti (2 flauti in do, flauto in sol e flauto basso)Livello Intermedio.
$15.00 ≈
£11.40
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