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Vous avez sélectionné:
orchestral and solo tuning
Partitions à imprimer
23 partitions trouvées
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1
Eccles Sonata 11, double bass and piano
Eccles Sonata 11, double bass and piano
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Contrebasse, Piano (duo)
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Classique
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Henry Eccles
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Andrew Kohn
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Eccles Sonata 11, double bass
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Andrew Kohn
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SheetMusicPlus
Double Bass,Piano,String Bass - SKU: A0.909716 Composed by Henry Eccles. Arranged by Andrew Kohn. Baroque. Score and part. 20 pages. Andrew Kohn #426506...
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Double Bass,Piano,String Bass - SKU: A0.909716 Composed by Henry Eccles. Arranged by Andrew Kohn. Baroque. Score and part. 20 pages. Andrew Kohn #4265069. Published by Andrew Kohn (A0.909716). New edition of widely-played sonata, based on edition of 1720. Double bass plays in g minor; includes piano accompaniments for orchestral and solo tuning. Includes figured bass and critical notes. Accompaniment is idiomatic, playable, and the bass line stays below the solo line.
$8.00 ≈
7.22€
Meditation from Thais - For Double Bass (Orchestral Tunning) and Harp
Meditation from Thais - For Double Bass (Orchestral Tunning) and Harp
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Jules Massenet
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Felipe Medeiros
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Meditation from Thais - For Do
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Felipe Medeiros
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SheetMusicPlus
Double Bass,Harp,Instrumental Duet - Level 3 - SKU: A0.1410258 Composed by Jules Massenet. Arranged by Felipe Medeiros. 19th Century,Classical,Opera,Rom...
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Double Bass,Harp,Instrumental Duet - Level 3 - SKU: A0.1410258 Composed by Jules Massenet. Arranged by Felipe Medeiros. 19th Century,Classical,Opera,Romantic Period,Wedding. 14 pages. Felipe Medeiros #992676. Published by Felipe Medeiros (A0.1410258). A version for double bass in orchestral tuning of the classic intermezzo of this beautiful opera by Jules Massenet. To access the double bass version in solo tuning visit: https://tinyurl.com/SoloTuning.
$8.00 ≈
7.22€
Brass Band - March - O. H. B.
Brass Band - March - O. H. B.
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Contemporain
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Mike Lyons
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Brass Band - March - O. H. B.
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Lyons Music Services
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.767284 Composed by Mike Lyons. Contemporary. Brass Band. 82 pages. Lyons Music Services #3227757. Published by Lyons Music Services (A0.767284). I wrote this march and dedicated it to my current band, Old Hall Brass, when I was first playing with them in 2003. Now that I'm back with them after a 9 year hiatus, I felt it only appropriate to publish it here.The opening 10 bars are a bit of a muck-around and are entirely optional. OHB's current conductor, John North, likes to entertain, so it's basically a tuning up section, like you would find in an orchestral concert but with some laughs thrown in!The march starts for real at the Segno. There's a fanfare-like opening which leads into the first main melody for the euphonium and solo horn. This is repeated with extra fanfare interjections from the trombones. The bass solo is a fairly traditional part of a march and this is no exception, except that it is not repeated. Another fanfare-like section leads into a reprise of the euphonium/horn melody with interjections from trombones and cornets. The final section is similar to the opening fanfare before the DS. Repeats should not be played on the DS.
$25.00 ≈
22.55€
In the Hall of the Mountain King by Grieg guitar solo
In the Hall of the Mountain King by Grieg guitar solo
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Classique
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Classique
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Edvard Grieg
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PianoSheetNow
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In the Hall of the Mountain Ki
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PianoSheetNow
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.556877 Composed by Edvard Grieg. Arranged by PianoSheetNow. Classical,Opera,Romantic Period. Guitar Tab. 2 pages. PianoSheetN...
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Guitar - Level 3 - SKU: A0.556877 Composed by Edvard Grieg. Arranged by PianoSheetNow. Classical,Opera,Romantic Period. Guitar Tab. 2 pages. PianoSheetNow #6099611. Published by PianoSheetNow (A0.556877). In the Hall of the Mountain King is a piece of orchestral music composed by Edvard Grieg (15 June 1843 - 4 September 1907) in 1875 as incidental music for the sixth scene of act 2 in Henrik Ibsen's 1867 play Peer Gynt. Guitar solo. Early Intermediate. Guitar in drop D tuning (low E to D).With downloadable mp3 just for audio help.
$1.99 ≈
1.79€
Nebula / from Forest Frequencies
Nebula / from Forest Frequencies
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Contrebasse, Piano (duo)
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Contemporain
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Jose Peñarroja
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orchestral and solo tuning
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Nebula / from Forest Frequenci
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Jose Peñarroja Pérez
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SheetMusicPlus
Double Bass,Piano,String Bass - SKU: A0.1004974 Composed by Jose Peñarroja. Contemporary. Score and part. 18 pages. Jose Peñarroja Pérez #60357...
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Double Bass,Piano,String Bass - SKU: A0.1004974 Composed by Jose Peñarroja. Contemporary. Score and part. 18 pages. Jose Peñarroja Pérez #6035757. Published by Jose Peñarroja Pérez (A0.1004974). Modern Chamber Music for double bass and piano. This is the second movement from Forest Frequencies: Nebula.There are one bass part and two piano parts; orchestral and solo tuning.
$4.95 ≈
4.46€
Coniferous / from Forest Frequencies
Coniferous / from Forest Frequencies
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Contemporain
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Jose Peñarroja
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orchestral and solo tuning
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Coniferous / from Forest Frequ
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Jose Peñarroja Pérez
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SheetMusicPlus
Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 5 - SKU: A0.1004976 Composed by Jose Peñarroja. Contemporary. Score and parts. 28...
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Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 5 - SKU: A0.1004976 Composed by Jose Peñarroja. Contemporary. Score and parts. 28 pages. Jose Peñarroja Pérez #6035769. Published by Jose Peñarroja Pérez (A0.1004976). Modern Chamber Music for double bass and piano. This is the third movement from Forest Frequencies: ConiferousThere are one bass part and two piano parts; orchestral and solo tuning.
$4.95 ≈
4.46€
The Cruel Night / from Forest Frequencies
The Cruel Night / from Forest Frequencies
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Contrebasse, Piano (duo)
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Contemporain
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Jose Peñarroja
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orchestral and solo tuning
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The Cruel Night / from Forest
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Jose Peñarroja Pérez
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SheetMusicPlus
Double Bass,Piano,String Bass - SKU: A0.1004973 Composed by Jose Peñarroja. Contemporary. Score and part. 18 pages. Jose Peñarroja Pérez #60357...
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Double Bass,Piano,String Bass - SKU: A0.1004973 Composed by Jose Peñarroja. Contemporary. Score and part. 18 pages. Jose Peñarroja Pérez #6035747. Published by Jose Peñarroja Pérez (A0.1004973). Modern Chamber Music for double bass and piano. This is the first movement of Forest Frequencies: The Cruel Night.There are a bass part and two piano parts; orchestral and solo tuning.
$4.95 ≈
4.46€
Best of Double Bass Classics
Best of Double Bass Classics
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Contrebasse, Piano (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Best of Double Bass Classics
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Schott Music - Digital
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SheetMusicPlus
16 Famous Concert Pieces for Double Bass and Piano. Double- bass - Classical music - Collection - Anthology. Best of Classics. Downloadable. Schott Mus...
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16 Famous Concert Pieces for Double Bass and Piano. Double- bass - Classical music - Collection - Anthology. Best of Classics. Downloadable. Schott Music - Digital #Q558854. Published by Schott Music - Digital
English * German.
This comprehensive volume contains well-known original works and transcriptions from the Baroque, Classical and Romantic periods by Bottesini, Capuzzi, Dragonetti, Eccles, Faure, Koussevitzky, Lulier, Saint-Saens, Simandl, Sperger and others. The repertoire is suitable for lessons, auditions, examinations and competitions. All pieces are printed in standard orchestral tuning; in addition, piano accompaniments for playing in solo tuning are available for download. Thus, the volume can be used flexibly in lessons at the upper classes of music schools as well as in studies.
Dieser umfangreiche Band enthalt bekannte Originalwerke und Transkriptionen aus Barock, Klassik und Romantik von Bottesini, Capuzzi, Dragonetti, Eccles, Faure, Koussevitzky, Lulier, Saint-Saens, Simandl, Sperger und anderen. Alle Stucke werden in der normalen Orchesterstimmung abgedruckt, zusatzlich sind Klavierbegleitungen fur das Spiel in Solostimmung zum Download erhaltlich.
$19.99 ≈
18.03€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.64€
I Allegro Moderato from Fluvial Sonata
I Allegro Moderato from Fluvial Sonata
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Contrebasse, Piano (duo)
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jose Peñarroja Pérez
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I Allegro Moderato from Fluvia
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Jose Peñarroja Pérez
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SheetMusicPlus
Double Bass,Piano,String Bass - Level 4 - SKU: A0.1004965 Composed by Jose Peñarroja Pérez. Contemporary. Score and part. 14 pages. Jose Peñarr...
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Double Bass,Piano,String Bass - Level 4 - SKU: A0.1004965 Composed by Jose Peñarroja Pérez. Contemporary. Score and part. 14 pages. Jose Peñarroja Pérez #4643165. Published by Jose Peñarroja Pérez (A0.1004965). First movement (Amada MarÃn / Allegro Moderato) from Fluvial Sonata in D minor. Modern chamber music for double bass and piano.Orchestral tuning and Solo tuning.
$4.25 ≈
3.83€
Contrabass Concerto Kr. 172
Contrabass Concerto Kr. 172
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Carl Ditters von Dittersdorf
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José F
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Contrabass Concerto Kr. 172
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José F. Anello
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1089456 Composed by Carl Ditters von Dittersdorf. Arranged by José F. Anello. Baroque,Classical,Romantic Period...
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Chamber Orchestra - Level 4 - SKU: A0.1089456 Composed by Carl Ditters von Dittersdorf. Arranged by José F. Anello. Baroque,Classical,Romantic Period. Score and Parts. 104 pages. José F. Anello #693658. Published by José F. Anello (A0.1089456). This is one of the greates concerts of the Double Bass repertoire. In this edition you can found 2 options to perform this masterpiece. According to the original Double Bass soloist tuning, you will need a Double Bass D Major part, with the orchestra in E Major. The other option is to play the soloist without an specially tuned Double Bass with an E Major part, the same with the orchestra. Buying this edition you will have the two options. Included: + D Major Solo Double Bass part + E Major Solo Double Bass part + Orchestral E Major parts + French Horn in F transposition Part.
$20.00 ≈
18.04€
II Largo from Fluvial Sonata in D minor
II Largo from Fluvial Sonata in D minor
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Contemporain
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Jose Peñarroja Pérez
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II Largo from Fluvial Sonata i
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Jose Peñarroja Pérez
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SheetMusicPlus
Small Ensemble Double Bass,Piano Accompaniment - SKU: A0.1004966 Composed by Jose Peñarroja Pérez. Contemporary. Score and parts. 7 pages. Jose Pe...
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Small Ensemble Double Bass,Piano Accompaniment - SKU: A0.1004966 Composed by Jose Peñarroja Pérez. Contemporary. Score and parts. 7 pages. Jose Peñarroja Pérez #4643173. Published by Jose Peñarroja Pérez (A0.1004966). Second movement from Fluvial Sonata in D minor.Modern chamber music for double bass and piano.Orchestral tuning / Solo tuning.
$4.25 ≈
3.83€
Symphony No. 3 in A minor, op. 17 (parts)
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
189.41€
III Vivace from Fluvial Sonata in D minor
III Vivace from Fluvial Sonata in D minor
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Contemporain
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Jose Peñarroja Pérez
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III Vivace from Fluvial Sonata
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Jose Peñarroja Pérez
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SheetMusicPlus
Small Ensemble Double Bass,Piano Accompaniment - SKU: A0.1004967 Composed by Jose Peñarroja Pérez. Contemporary. Score and parts. 21 pages. Jose P...
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Small Ensemble Double Bass,Piano Accompaniment - SKU: A0.1004967 Composed by Jose Peñarroja Pérez. Contemporary. Score and parts. 21 pages. Jose Peñarroja Pérez #4643183. Published by Jose Peñarroja Pérez (A0.1004967). Third movement from Fluvial Sonata in D minor.Modern chamber music for double bass and piano.Orchestral / Solo tuning.
$4.25 ≈
3.83€
Double Bass Concerto No.1 (Opus.20)
Double Bass Concerto No.1 (Opus.20)
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Orchestre
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AVANCÉ
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David Burndrett
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Double Bass Concerto No.1
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David Burndrett
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.558752 Composed by David Burndrett. Contemporary,Romantic Period. Score and parts. 84 pages. David Burndrett #5178755...
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Full Orchestra - Level 5 - SKU: A0.558752 Composed by David Burndrett. Contemporary,Romantic Period. Score and parts. 84 pages. David Burndrett #5178755. Published by David Burndrett (A0.558752). I composed this between December 17th 2019 and January 22nd 2020. This is composed for solo double bass using orchestral pitch standard tuning so no solo strings are required.Movement 1. Adagio-Allegro
$22.95 ≈
20.70€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 7 and 8, two copies needed for performance - SKU: S9.Q24701 Arranged for double bass choir. Composed by Gavin Bryars. This edition: s...
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Double bass 7 and 8, two copies needed for performance - SKU: S9.Q24701 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24701. Published by Schott Music - Digital (S9.Q24701). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 2 - SKU: S9.Q24696 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual pa...
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Double bass 2 - SKU: S9.Q24696 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24696. Published by Schott Music - Digital (S9.Q24696). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 6 - SKU: S9.Q24700 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual pa...
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Double bass 6 - SKU: S9.Q24700 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24700. Published by Schott Music - Digital (S9.Q24700). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 4 - SKU: S9.Q24698 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual pa...
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Double bass 4 - SKU: S9.Q24698 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24698. Published by Schott Music - Digital (S9.Q24698). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 1 - SKU: S9.Q24695 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual pa...
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Double bass 1 - SKU: S9.Q24695 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24695. Published by Schott Music - Digital (S9.Q24695). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 5 - SKU: S9.Q24699 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual pa...
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Double bass 5 - SKU: S9.Q24699 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24699. Published by Schott Music - Digital (S9.Q24699). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass 3 - SKU: S9.Q24697 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual pa...
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Double bass 3 - SKU: S9.Q24697 Arranged for double bass choir. Composed by Gavin Bryars. This edition: separate part. Downloadable, Individual part. Duration 6 minutes. Schott Music - Digital #Q24697. Published by Schott Music - Digital (S9.Q24697). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$4.99 ≈
4.50€
Silva Caledonia
Silva Caledonia
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Gavin Bryars
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Silva Caledonia
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Schott Music - Digital
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SheetMusicPlus
Double bass ensemble (minimum 8 players) - SKU: S9.Q24694 Arranged for double bass choir. Composed by Gavin Bryars. This edition: score. Download...
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Double bass ensemble (minimum 8 players) - SKU: S9.Q24694 Arranged for double bass choir. Composed by Gavin Bryars. This edition: score. Downloadable, Score. Duration 6 minutes. Schott Music - Digital #Q24694. Published by Schott Music - Digital (S9.Q24694). This is a special arrangement for double bass choir of the choral piece Silva Caledonia, written for the Estonian National Male Choir, which sets a text by the Scottish poet Edwin Morgan. It was first performed by them in April 2006. The double bass version was written for the large group of basses, 22 for the first performance, at Basses Loaded, the annual concert from Gary Karr's summer school in Victoria BC. Gavin BryarsBoth solo and orchestral tuning are included with each individual instrumental part.
$9.99 ≈
9.01€
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orchestral and solo tuning
