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Great I Am
Not classified 130

Piano & keyboards
Piano solo 70
Piano, Voice 47
Piano, Vocal and Guitar 40
Organ 14
Easy Piano 14

1 Piano, 4 hands 5
Piano Accompaniment 2
Piano (band part) 2
Piano Trio: piano, violin, cello 1
Piano Quartet: piano, 2 violins, cello 1
C Instruments 1

+ 6 instrumentations

- Retract

Guitars
Melody line, (Lyrics) and Chords 12
Guitar 6
Guitar notes and tablatures 6
Lyrics and Chords 2
2 Guitars (duet) 2

Ukulele 2
4 Guitars (Quartet) 1
Mandolin 1
Electric Bass (band part) 1

+ 4 instrumentations

- Retract

Voice
Choral SATB 59
Choral 3-part 17
Choral 2-part 14
Choral Unison 13
Vocal duet 5

Vocal duet, Piano 3
Medium voice, Piano 2
Voice solo 1
Choral TTBB 1
Choral SSAA 1
Choral SSATB 1
Choral 1

+ 7 instrumentations

- Retract

Woodwind
2 Saxophones (duet) 12
Flute, Oboe, Clarinet, Bassoon 10
Flute and Piano 10
2 Flutes (duet) 8
Saxophone Quartet: 4 saxophones 8

Flute, Clarinet (duet) 8
Saxophone (band part) 8
2 Clarinets (duet) 8
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 8
Clarinet and Piano 8
Alto Saxophone and Piano 7
Clarinet 5
Soprano Saxophone and Piano 5
Tenor Saxophone and Piano 5
Flute 5
Alto Saxophone 4
Oboe (band part) 3
Oboe, Piano (duet) 3
Clarinet (band part) 3
Saxophone Quintet: 5 Saxophones 3
Flute (band part) 3
Clarinet, Bassoon (duet) 2
Oboe, Bassoon (duet) 2
Clarinet Quartet: 4 clarinets 2
Flute ensemble 2
Saxophone ensemble 1
Descant (Soprano) Recorder 1
Flute, Trumpet (duet) 1
Flute, Oboe, Violin 1
Flute Trio: 3 flutes 1
Clarinet and Viola 1
Tenor Recorder 1
Tenor Saxophone 1
Clarinet Quintet: Clarinet, String Quartet 1
Soprano Saxophone 1
Flute Quartet: 4 flutes 1
Flute, Oboe, Clarinet (trio) 1

+ 32 instrumentations

- Retract

Woodbrass
Trombone 10
Trombone and Piano 10
Trumpet (band part) 7
Trumpet, Piano 7
Brass Quintet: 2 trumpets, horn, trombone, tuba 7

2 Trombones (duet) 6
Brass quartet : 2 trumpets, trombone, tuba 6
2 Trumpets (duet) 5
Trumpet 5
Brass Quartet: 2 trumpets, horn, trombone 5
Trombone (band part) 4
French horn (band part) 4
2 French horns (duet) 3
French Horn and Piano 3
Brass Quartet 2
Trumpet, Trombone (duet) 2
2 French horns, Piano 1
Brass Quartet: 4 trombones 1
Trumpet, Horn (duert) 1
Bass Trombone and Piano 1
Tuba (band part) 1
Brass Quartet: 4 horns 1
Bass Clef Instruments 1

+ 18 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 27
Violin 9
Violin and Piano 7
Cello, Piano 6
Violin, Cello (duet) 6

2 Violas (duet) 6
2 Cellos (duet) 6
2 Violins (duet) 6
Cello (band part) 6
Viola, Piano 6
Doublebass (band part) 5
Violin, Viola (duet) 5
String Quintet: 2 violins, viola, cello, bass 5
Viola 4
Harp, Voice 3
Viola (band part) 3
Violin (band part) 3
Piano Trio: Violin, Viola, Piano 3
String Trio: violin, viola, cello 2
Harp (band part) 2
String Trio: 3 violins 1
Cello, Orchestra 1
Viola, Cello (duet) 1
Cello 1
String Quintet: 2 violins, 2 violas, cello 1

+ 20 instrumentations

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Percussion & orchestra
Concert band 9
Orchestra 9
Marching band 5
String Orchestra 5
Jazz Ensemble 5

Brass ensemble 4
Percussion (band part) 3
Drum (band part) 3
Jazz combo 3
Chamber Orchestra 3

Vibraphone 1
Piano and Orchestra 1
Handbells 1
Xylophone, Piano 1

+ 9 instrumentations

- Retract

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Great I Am

Chamber Orchestra

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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 ≈ 51.56€

Three Laments of Heloise for Chamber Orchestra

Three Laments of Heloise for Chamber Orchestra #Chamber Orchestra #INTERMEDIATE/ADVANCED #Dosia McKay #Three Laments of Heloise for C #Gavia Music #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. ...(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloiseâ€™s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweetâ€¦ They are always there before my eyes, bringing with them awakened longingsâ€¦ The second movement If Not With You, My Heart Is Nowhere, expresses Heloiseâ€™s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloiseâ€™s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).

$100.00 ≈ 92.08€

Homage to Sibelius

Homage to Sibelius #Chamber Orchestra #INTERMEDIATE/ADVANCED #Stanley M Hoffman #Homage to Sibelius #stanleymhoffman.com #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanley...(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music.Â I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature.Â Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master.Â More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by Â Stanley M. Hoffman (b. 1959 [BMI])Â Inspired by the Music of Jean Sibelius (1865â€“1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:Â© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved. Â The sheet music is available from the composer and from Sheet Music Plus.

$103.50 ≈ 95.30€