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That\ brazil
Not classified 94

Piano & keyboards
Piano solo 73
Piano, Vocal and Guitar 24
2 Pianos, 4 hands 21
C Instruments 15
Easy Piano 4

Piano Quintet: piano, 2 violins, viola, cello 2
Organ 1

+ 2 instrumentations

- Retract

Guitars
Guitar 18
Guitar notes and tablatures 7
Melody line, (Lyrics) and Chords 4
Mandolin 2
Ukulele 1

Voice
Choral SATB 7
Choral 3-part 2
Choral TTBB 2

Woodwind
2 Saxophones (duet) 17
Flute 10
Saxophone, Clarinet (duet) 9
2 Clarinets (duet) 6
Alto Saxophone 6

Tenor Saxophone 6
Clarinet, Violin (duet) 6
Clarinet, Trumpet (duet) 5
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 4
Clarinet 4
2 Flutes (duet) 3
Clarinet and Viola 3
Flute, Violin 3
2 Oboes (duet) 3
Oboe, Clarinet (duet) 3
Saxophone Quartet: 4 saxophones 3
Oboe, Flute 2
Flute, harp and violin 2
Clarinet and Piano 2
Flute, Trumpet (duet) 2
Flute and Piano 2
Flute, Saxophone (duet) 2
Soprano Saxophone and Piano 2
Saxophone (band part) 2
Flute, Oboe, Bassoon 1
Oboe, Bassoon (duet) 1
Clarinet Quartet: 4 clarinets 1
Flute Quartet: 4 flutes 1
Flute, Viola and harp 1
Flute ensemble 1
Flute Trio: 3 flutes 1
Soprano Saxophone 1
Flute, Violin, Piano 1
Tenor Saxophone and Piano 1
Wind ensemble 1
Flute, Viola (duet) 1
Alto Saxophone and Piano 1
Oboe (band part) 1
Flute, Oboe (duet) 1
Flute, Clarinet (duet) 1

+ 35 instrumentations

- Retract

Woodbrass
Trumpet 7
Trumpet, Saxophone (duet) 6
Trombone 5
Brass Quintet: 2 trumpets, horn, trombone, tuba 5
Trumpet, Piano 4

2 Trumpets (duet) 3
2 Trombones (duet) 3
Trumpet, Trombone (duet) 2
Brass quartet : 2 trumpets, trombone, tuba 2
Brass Quartet: 4 trombones 2
Trumpet ensemble 1
Trombone ensemble 1
Trumpet (band part) 1
Trombone and Piano 1

+ 9 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 17
Violin 8
Cello 6
Violin, Viola (duet) 3
2 Cellos (duet) 3

2 Violins (duet) 2
Violin, Cello (duet) 2
2 Violas (duet) 2
Viola, Piano 1
Violin and Piano 1
Viola 1

+ 6 instrumentations

- Retract

Percussion & orchestra
Concert band 14
Jazz Ensemble 10
Orchestra 7
Chamber Orchestra 4

String Orchestra 3

Drums 2
Marching band 2
Percussion Ensemble 2
Jazz combo 1

+ 4 instrumentations

- Retract

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That\ brazil

Chamber Orchestra

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4 sheet music found

A Morte Do Vaqueiro

A Morte Do Vaqueiro #Chamber Orchestra #BEGINNER #Luiz Gonzaga Do Nascimento and #Renato Brito #A Morte Do Vaqueiro #Renato Brito #SheetMusicPlus

Chamber Orchestra - Level 1 - Digital Download SKU: A0.1048288 Composed by Luiz Gonzaga Do Nascimento and Nelson Barbalho De Siqueira. Arranged by Renato...(+)

Chamber Orchestra - Level 1 - Digital Download SKU: A0.1048288 Composed by Luiz Gonzaga Do Nascimento and Nelson Barbalho De Siqueira. Arranged by Renato Brito. Instructional,Multicultural,Traditional,World. Score and parts. 20 pages. Renato Brito #652712. Published by Renato Brito (A0.1048288). For Music Education. A morte do Vaqueiro (The Cowboy Death) is a song from Brazil Northeast that tells about the sadness of the local people life and hard work. It was composed by Luiz Gonzaga to mourn the death of his cousin, Raimundo JacÃ³, who was murdered. In the song, the cattle are disoriented, waiting to be guided by the cowboy who will not return to continue his work.

$49.99

Requiem

Requiem #Chamber Orchestra #Harald Weiss #Requiem #Schott Music - Digital #SheetMusicPlus

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

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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

Zemira

Zemira #Chamber Orchestra #INTERMEDIATE/ADVANCED #Jose Mauricio Nunes Garcia #Steven Nunes #Zemira #Nagamon Publications #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1394923 Composed by Jose Mauricio Nunes Garcia. Arranged by Steven Nunes. 19th Century,Classical. ...(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1394923 Composed by Jose Mauricio Nunes Garcia. Arranged by Steven Nunes. 19th Century,Classical. 60 pages. Nagamon Publications #978408. Published by Nagamon Publications (A0.1394923). JosÃ© MaurÃcio Nunes Garcia (September 20, 1767 â€“ April 18, 1830) was a Brazilian classical composer, one of the greatest exponents of Classicism in the Americas.Born in Rio de Janeiro, son of two bi-racial parents, Nunes Garcia lost his father at an early age. His mother perceived that her son had an inclination for becoming a musician and, for this reason, improved her work to allow him to continue his musical studies.Nunes Garcia became a priest and, when King John VI of Portugal came to Rio de Janeiro with his 15,000 people, Nunes Garcia was appointed Master of the Royal Chapel. He sang and played the harpsichord, performing his compositions as well as those of other composers such as Domenico Cimarosa and Wolfgang Amadeus Mozart. He was a very prestigious musician in the royal court of John VI.His musical style was strongly influenced by Viennese composers of the period, such as Mozart and Haydn.Â This edition has been prepared from the composer's manuscript, and the PDF contains the Full Score and a full set of parts.Â Please note that the string parts have been formatted for larger paper.

$50.00

Reprise: Pure Imagination (at The Gates Of The Factory)

Reprise: Pure Imagination (at The Gates Of The Factory) #Chamber Orchestra #ADVANCED #Anthony Newley and Leslie Bric #Rich DeRosa #Reprise: Pure Imagination #Richard DeRosa #SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1259824 Composed by Anthony Newley and Leslie Bricusse. Arranged by Rich DeRosa. Contemporary,Jazz...(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1259824 Composed by Anthony Newley and Leslie Bricusse. Arranged by Rich DeRosa. Contemporary,Jazz,Latin,Singer/Songwriter. Score and Parts. 79 pages. Richard DeRosa #853102. Published by Richard DeRosa (A0.1259824). This dazzling arrangement is a great showcase for a vocalist, orchestra, and a contemporary rhythm section.Â The orchestral and keyboard instruments provide a magical texture supported with a Brazilian partido alto rhythm that adds a modern groove. The virtuosic vocal part encompasses a 2-octave range, a dynamic vocalese with the orchestra, and an opportunity to improvise during the closing section. This is best suited for advanced performers. The demo recording will be a useful guide for quicker preparation. Performance time is approximately 4:50.

$100.00