Partitions Numériques de Cliff Friend pour Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor

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Cliff Friend
Non classifié 5

Piano & claviers
Piano, Voix 11
Piano, Voix et Guitare 10
Piano seul 7
Piano Facile 3
Accompagnement Piano 2

1 Piano, 4 mains 1
Instruments en Do 1
Ligne De Mélodie, Piano 1

+ 3 instrumentations

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Guitares
Ligne De Mélodie, (Paroles) et Accords 5
2 Guitares (duo) 2
Guitare notes et tablatures 1

Voix
Chorale TTBB 3
Chorale SATB 1

Vents
Saxophone (partie séparée) 3
Clarinette (partie séparée) 2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 1

Flute (partie séparée) 1
Hautbois (partie séparée) 1

Quatuor de Clarinettes: 4 clarinettes 1
Instruments en Mib 1

+ 2 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 3
Trompette (partie séparée) 1
Tuba (partie séparée) 1
Trombone (partie séparée) 1
Cor (partie séparée) 1

Instruments en Fa 1
Instruments en Sib 1
Bass Clef Instruments 1

+ 3 instrumentations

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Cordes
Violon (partie séparée) 2
Violoncelle (partie séparée) 1
Alto (partie séparée) 1
Alto seul 1
Violon et Piano 1

Percussions & orchestre
Orchestre d'harmonie 11
Orchestre à Cordes 6
Percussion (partie séparée) 3
Jazz combo 2
Timbales (partie séparée) 1

Ensemble Jazz 1
Orchestre de chambre 1

+ 2 instrumentations

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Cliff Friend

Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor

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Course of Empire

Course of Empire #Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor #AVANCÉ #Kyle Vanderburg #Course of Empire #NoteForge #SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 ...(+)

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 pages. NoteForge #1028595. Published by NoteForge (A0.1448781). Course of Empire takes its title and theme from a series of paintings by Thomas Cole. Over the course of these five paintings, an imaginary city rises and falls. A large boulder atop a cliff watches the scenes unfold: a wild and untamed landscape in the first painting; an agrarian, peaceful, arcadian state in the second; a decadent celebration in the third; the sack and destruction of the city in the fourth; and the ruins in the last.I tried to work unifying musical motives throughout the quintet. The first movement, The State of Nature, begins with a twelve-tone texture. There is no sense of tonal hierarchy or pitch center. The music is in a state of balance, adhering to a natural system not discernable to the listener. The bassoon introduces the main motive representing the cliff, a pastoral sort of hiccup.The second movement, Daydreams of Arcadia, begins with and develops the cliff motive, and has a more defined tonality. There is more action throughout the movement, as we’re led to the peaceful beginnings of civilization. The Empire motive, a series of syncopated chords, shows up toward the end of the movement: This is the beginning of the end, where our imaginary city makes the change from existing in harmony with nature to conquering it.The third movement, Fulfillment of Empire, begins with a cliff motive that has been added to, almost to the point of unrecognizability. Scenes of empire are shown musically, from a grand parade, to a show of naval forces, to the temple that occupies most of the painting. The Empire theme returns, expanded upon, but somehow sounding a little overextended.The fourth movement, The Fall, alternates between unfriendly chords (and noises) and the Empire motive. Every iteration of the Empire motive gets a little weaker, as the foundations of the civilization are destroyed. The movement ends with a lone flute.Movement five, Redemption, features some scenes that are familiar, but are now in ruins. The movement slips slowly back into the twelve-tone texture from the beginning. The Empire motive, or something like it, makes a brief appearance and passes through the ensemble, starting in the upper voices and sinking into the lower.

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