Partitions Numériques de Late at Night pour Orchestre de chambre

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Late at Night
Non classifié 90

Piano & claviers
Piano seul 73
Piano Facile 8
Orgue 5
Piano, Voix et Guitare 5
Instruments en Do 5

Piano, Voix 3
1 Piano, 4 mains 2
Piano Quatuor: piano, violon, alto, violoncelle 2
Piano Trio: piano, violon, violoncelle 1
1 Piano, 6 mains 1

+ 5 instrumentations

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Guitares
Guitare 6
Basse electrique 2
Guitare notes et tablatures 2
Guitare, Violon, Violoncelle (trio) 1
Piano, Guitare (duo) 1

Voix
Chorale SATB 8
Chorale TTBB 4
Chorale 3 parties 4
Chorale Unison 2
Chorale 2 parties 2

Voix moyenne, Piano 1
Chorale SSAA 1
Voix duo 1
Voix haute 1

+ 4 instrumentations

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Vents
Flûte traversière et Piano 14
Saxophone Alto et Piano 10
Hautbois, Piano (duo) 9
Saxophone Tenor et Piano 8
Clarinette 7

2 Saxophones (duo) 7
Clarinette et Piano 7
Quatuor de Clarinettes: 4 clarinettes 5
Saxophone Baryton, Piano 5
Saxophone Soprano et Piano 5
Quatuor de Flûtes : 4 flûtes 4
Saxophone, Clarinette (duo) 3
2 Flûtes traversières (duo) 3
Quintette de Clarinettes: 5 clarinettes 3
2 Clarinettes (duo) 3
Hautbois (partie séparée) 3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 3
Flûte, Clarinette (duo) 2
Flûte traversière 2
Clarinette, Violon (duo) 2
Ensemble de Clarinettes 2
Cor anglais, Piano 2
Clarinette Basse, Piano 2
Saxophone (partie séparée) 2
Quatuor de Saxophones: 4 saxophones 2
Flûte, Alto (duo) 1
3 Saxophones (trio) 1
Flûte, Saxophone (duo) 1
Flûte, Basson et Piano 1
Saxophone Alto 1
Hautbois, Flûte 1
2 Hautbois (duo) 1
Ensemble de Flûtes 1
Flûte, Violon 1
Flûte et Guitare 1
Hautbois, Clarinette (duo) 1
Flûte, Hautbois, Clarinette, Basson 1
Hautbois, Basson (duo) 1

+ 33 instrumentations

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Cuivres
Cor et Piano 9
Trombone et Piano 8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 8
Trompette 6
Trompette, Piano 2

Trompette, Saxophone (duo) 2
2 Trompettes (duo) 2
Euphonium, Piano (duo) 2
Cor 2
Trompette (partie séparée) 2
2 Trombones (duo) 2
2 Cors (duo) 2
Tuba et Piano 2
Cor anglais, Piano 2
Quatuor de cuivres: 4 trombones 1
Trompette, Trombone (duo) 1
Trompette, Euphonium (duo) 1

+ 12 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 13
Violon et Piano 9
Violoncelle, Piano 6
Alto, Piano 5
Violon 4

Harpe 4
Violon, Violoncelle (duo) 3
2 Violons (duo) 2
2 Violoncelles (duo) 2
Alto seul 2
Contre Basse 1
Violon, Clarinette, Piano (trio) 1
Trio à Cordes: violon, alto, violoncelle 1
Violoncelle (partie séparée) 1
Violon, Alto (duo) 1
Violoncelle 1
4 Violoncelles 1

+ 12 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 37
Orchestre à Cordes 12
Orchestre 11
Ensemble de cuivres 3
Orchestre de chambre 3

Ensemble Jazz 3
Quintette de Cuivres: autres combinaisons 1
Ensemble de Percussions 1
Cloches 1
Fanfare 1

+ 5 instrumentations

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Late at Night

Orchestre de chambre

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3 partitions trouvées

Nightwalk for Piano and Chamber Orchestra (Includes Score and Solo Piano with Piano Accompaniment)

Nightwalk for Piano and Chamber Orchestra (Includes Score and Solo Piano with Piano Accompaniment) #Orchestre de chambre #INTERMÉDIAIRE/AVANCÉ #Contemporain #Lisa Donovan Lukas #Nightwalk for Piano and Chambe #Lisa Donovan Lukas Music #SheetMusicPlus

Small Ensemble - Level 4 - SKU: A0.864812 Composed by Lisa Donovan Lukas. Contemporary. Score and parts. 82 pages. Lisa Donovan Lukas Music (ASCAP)...(+)

Small Ensemble - Level 4 - SKU: A0.864812 Composed by Lisa Donovan Lukas. Contemporary. Score and parts. 82 pages. Lisa Donovan Lukas Music (ASCAP) #4326117. Published by Lisa Donovan Lukas Music (ASCAP)
Nightwalk for Piano and Chamber Orchestra is an ideal piece of music for the late intermediate/early advanced piano student. Nightwalk is a dramatic and fiery showcase piece of music. The music serves as a terrific piece for students wishing to highlight their ensemble abilities, and looking to play contemporary piano/orchestral repertoire. This package includes the Orchestral Score, a set of all orchestral parts, Solo Piano part, and Solo Piano with Piano Accompaniment part. To listen to more of Lisa's original piano compositions, please check out Lisa's original piano music at Piano Pronto's Composers Community. https://www.youtube.com/watch?v=9JbU0shOcP8

$9.99 ≈ 9.25€

Requiem

Requiem #Orchestre de chambre #Harald Weiss #Requiem #Schott Music - Digital #SheetMusicPlus

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· Teil II: ...und es war...(+)

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· 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 â€¢ 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 â€œletting 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: â€œI 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 â€œin an oceanâ€ 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: â€œSo 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 boyâ€™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 â€œlux 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: â€œEntreiÃŸ dich, Seele, nun der Zeit, entreiÃŸ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ€ [â€œTear 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: â€œUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ€ [â€œAnd 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: â€œUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ€ [â€œAnd 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 Beethovenâ€™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 â€œrenewedâ€ occupation with the â€œoldâ€ 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 â€œhomecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).

$55.99 ≈ 51.84€

Dreams - Score Only

Dreams - Score Only #Orchestre de chambre #INTERMÉDIAIRE #Juan Guerra GonzÃ¡lez #Dreams - Score Only #Juan Carlos Guerra Gonzalez #SheetMusicPlus

Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra GonzÃ¡lez. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...(+)

Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra GonzÃ¡lez. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLYÂ Please visit www.juancarlosguerra.com/dreams to buy or rent the parts.Â Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players:Â 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Noteâ€œDreamsâ€ is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Islandâ€™s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work.Â I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams.Â II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the â€œheartbeatâ€ played by the bass drum and timpani, then a more â€œstressfulâ€ section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose!Â III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a â€œorientalâ€ style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra GonzÃ¡lez

$159.99 ≈ 148.14€

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