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Pat a Pan for String Quartet
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Vous avez sélectionné:
Pat a Pan for String Quartet
Orchestre de chambre
Partitions à imprimer
4 partitions trouvées
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1
Pat-a-Pan for String Quartet (or Mixed Quartet or Piano Quintet)
Pat-a-Pan for String Quartet (or Mixed Quartet or Piano Quintet)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Traditional
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Daniel Kelley
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Cello, Piano Quartet &
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Pat-a-Pan for String Quartet
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Last Resort Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.530720 Composed by Traditional. Arranged by Daniel Kelley. 20th Century,Christmas,Standards. Score and parts. 19 p...
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Chamber Orchestra - Level 4 - SKU: A0.530720 Composed by Traditional. Arranged by Daniel Kelley. 20th Century,Christmas,Standards. Score and parts. 19 pages. Last Resort Music Publishing #4887793. Published by Last Resort Music Publishing (A0.530720). An amazing resource for any musician, Music for Four is perfect for String Quartet, Mixed Quartet, Three Violins & Cello, Piano Quartet & More! Comes with score and 6 interchangeable parts - the keyboard/guitar part encompasses parts 2, 3 and 4. Therefore, the arrangements could be played as a piano quartet, or an entire quartet could play with a pianist - as long as Part 1 is being played.The following 6 parts plus score are included in the set:Part 1 Flute or Oboe or ViolinPart 2 Flute or Oboe or ViolinPart 3 ViolaPart 3 ViolinPart 4 Cello or BassoonKeyboard or GuitarScoreDon't miss our other Christmas & Nutcracker arrangements including Dance of the Sugar Plum Fairy, March, Overture & Trepak, Silent Night, The First Noel, Handel's Messiah, We Wish You a Merry Christmas and more! Available on SheetMusicPlus and www.lastresortmusic.comPublished by Last Resort Music Publishing www.lastresortmusic.com
$9.95 ≈
¥71.85
American Patriotic Music for All, Volume 1
American Patriotic Music for All, Volume 1
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Orchestre de chambre
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Americana
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Various
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American Patriotic Music for A
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Custom Chamber Music
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SheetMusicPlus
Composed by Various. Arranged by Randy Calistri-Yeh. Fourth of July, Recital, Patriotic, Old-time, Americana. Score, Set of Parts. 468 pages. Published by ...
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Composed by Various. Arranged by Randy Calistri-Yeh. Fourth of July, Recital, Patriotic, Old-time, Americana. Score, Set of Parts. 468 pages. Published by Custom Chamber Music
Volume 1 of our Patriotic collection contains four classic patriotic tunes and three complete Sousa marches. Altogether this has 15 minutes of music that both you and your audience are sure to love.
These arrangements can be played with anywhere from 3 to 7 parts, suitable for a small chamber group, accompaniment for a choir, or a full band or orchestra (school, community, or professional). This is one of the most versatile collections you'll ever use!
To demonstrate the flexibility of this collection, the audio clip has "America the Beautiful" performed as a full concert band, a string orchestra, and a woodwind trio.
The songs included in Volume 1 are:
The Star-Spangled Banner (US National Anthem), by John Stafford Smith.
America the Beautiful, by Samuel Ward.
Battle Hymn of the Republic ("Mine Eyes Have Seen the Glory").
My Country, 'Tis of Thee ("America", known as "God Save the King/Queen" in England).
Stars and Stripes Forever, by John Philip Sousa.
Washington Post March, by John Philip Sousa.
Semper Fidelis, by John Philip Sousa.
These songs are also available separately through the publisher link above.
Each song is in its original key, so it is easy to combine these with your own choir or piano/organ parts.
This collection contains a full score, as well as individual parts in all the appropriate clef and transposition to support the following ensembles:
Brass trio, quartet, quintet, and sextet.
Woodwind trio, quartet, quintet, and sextet.
String trio, quartet, quintet, and sextet.
Clarinet trio, quartet, quintet, and sextet.
Saxophone trio, quartet, and quintet.
Mixed trio, quartet, quintet, and sextet, with optional percussion.
Wind ensemble, brass ensemble, string orchestra, full orchestra, and full band.
The parts are described as follows:
Part 1 [D4-Ab5] is the main melody. Flute/Piccolo, Oboe, Bb Clarinet, Alto Clarinet, Soprano Saxophone, Bb Trumpet, Violin, Viola.
Part 2 [G3-Eb5] has some B-section melody and harmony. Bb Clarinet, Alto/Bass Clarinet, Alto Saxophone, French Horn, Bb Trumpet, Violin, Viola.
Part 3 [G3-Bb4] is additional harmony. Bb Clarinet, Alto/Bass Clarinet, Alto/Tenor Saxophone, French Horn, Bb Trumpet, Baritone, Trombone, C/Bb Euphonium, Violin, Viola, Cello.
Part 4 [F2-C4] is the main bass line. Bass Clarinet, Baritone/Bass Saxophone, Bassoon, French Horn, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass.
Part 5 [E2-C4] is other harmony. Bass Clarinet, Bass Saxophone, Bassoon, French Horn, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass.
Part 6 [E2-F4] is the main melody down an octave, with some additional notes. Bass Clarinet, Bassoon, French Horn, Trombone, C/Bb Euphonium, Cello, Bass.
Part 7 is an optional percussion part (snare drum, cymbal, bass drum) that can be added to any of the above combinations, or skipped entirely.
We recommend the following combinations:
Trio: Parts 1, 2, 4 (4 works better than 3 for trio).
Quartet: Parts 1, 2, 3, 4.
Quintet: Parts 1, 2, 3, 4, 5.
Sextet: Parts 1, 2, 3, 4, 5, 6.
Septet: Part 1, 2, 3, 4, 5, 6, 7.
Be sure to also check out our three volumes of Christmas Carols for All!
$45.00 ≈
¥324.97
The Star-Spangled Banner
The Star-Spangled Banner
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Orchestre de chambre
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Francis Scott Key, John Staffo
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Evan Lamont
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The Star-Spangled Banner
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Evan Lamont
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1027881 Composed by Francis Scott Key, John Stafford Smith. Arranged by Evan Lamont. Contemporary,Folk,Holiday,Patriotic. Sc...
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Chamber Orchestra - SKU: A0.1027881 Composed by Francis Scott Key, John Stafford Smith. Arranged by Evan Lamont. Contemporary,Folk,Holiday,Patriotic. Score and parts. 2 pages. Evan Lamont #3055853. Published by Evan Lamont (A0.1027881). A simple yet striking re-imagination for string quartet.
$3.99 ≈
¥28.81
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).
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