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You've selected:
PIANO Cello, Percussion, Clarinet, Piano
Sheetmusic to print
1,078 sheet music found
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1076
Hold On To The Moment - PIANO/VOCAL SCORE
Hold On To The Moment - PIANO/VOCAL SCORE
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Piano, Voice
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W
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Hold On To The Moment - PIANO/
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Diamond S Music
#
SheetMusicPlus
Piano,Vocal,Voice - Digital Download SKU: A0.789892 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. Score. 12 pages. Diamond S Music #3079755. Published...
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Piano,Vocal,Voice - Digital Download SKU: A0.789892 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. Score. 12 pages. Diamond S Music #3079755. Published by Diamond S Music (A0.789892). PIANO/VOCAL SCORE Only. HOLD ON TO THE MOMENT is a beautiful sentimental pop song that can be showcased at graduation ceremonies, Church services, Weddings, and Choir or Band Concerts. The song begins with a VOCAL SOLO that turns into a TRIO  with a full SATB chorus and Gospel Trio in counterpoint. Accompaniment is scored for: Piano, Synth, Electric Guitar  1 & 2, Bass Guitar, Drum Set, Percussion, Piccolo, Flute 1 & 2, Bb Clarinet 1 & 2, Alto Sax, Tenor Sax, Horn in F, Trumpet 1 & 2, Trombone 1 & 2, Violin 1 & 2, Viola, Cello, Double Bass. Can also be performed as a Vocal Solo with Piano (or small group- Piano, Bass, Drums, Guitar). This song begins and ends very sweet, but really grooves and opens up in the middle.  Lyrics are adapted from an anonymous poem, Hold On To The Moment that was used in many school yearbooks years ago, Single file and yet together, we have shared out greatest days. And we carry common memories...).
$7.00 ≈
¥50.81
VARIANTS (for piano and orchestra)
VARIANTS (for piano and orchestra)
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Piano and Orchestra
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Jordan Grigg
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VARIANTS
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Jordan Grigg
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057960 C...
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057960 Composed by Jordan Grigg. Contemporary,Standards. Full Performance. Duration 413. Jordan Grigg #3628987. Published by Jordan Grigg (A0.1057960).
$1.99 ≈
¥14.44
Fantasy for Piano and Orchestra
Fantasy for Piano and Orchestra
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Piano and Orchestra
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Jordan Grigg
#
Fantasy for Piano and Orchestr
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Jordan Grigg
#
SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058105 C...
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058105 Composed by Jordan Grigg. Concert,Contemporary,Instructional,Standards. Full Performance. Duration 376. Jordan Grigg #5360293. Published by Jordan Grigg (A0.1058105).
$2.99 ≈
¥21.70
I Fiori (Flowers) -for Voice, Lute, Sop. Sax, Cello, Piano and Percussions
I Fiori (Flowers) -for Voice, Lute, Sop. Sax, Cello, Piano and Percussions
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Piano, Vocal and Guitar
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INTERMEDIATE
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Miri De Fer
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I Fiori
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eMdeFer
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1024463 Composed by Miri De Fer. Contemporary,Film/TV,Pop,World. Score. 30 pages. EMdeFer #...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1024463 Composed by Miri De Fer. Contemporary,Film/TV,Pop,World. Score. 30 pages. EMdeFer #3087825. Published by eMdeFer (A0.1024463). I FIori/ Flowers is positive composition for Voice, Lute (or Guitar/Banjo), Soprano Sax (or Clarinet), Violoncello, Piano and Percussions. There is a lot of space for improvisation, specially for percussionist, specially in the end of the composition. If you do not have a singer, find an instrument to play the singers part.
$40.00 ≈
¥290.35
Passions (for piano and orchestra)
Passions (for piano and orchestra)
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Piano and Orchestra
#
Jordan Grigg
#
Passions
#
Jordan Grigg
#
SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057446 Co...
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Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057446 Composed by Jordan Grigg. 20th Century,Concert,Instructional,Standards. Full Performance. Duration 222. Jordan Grigg #3464809. Published by Jordan Grigg (A0.1057446).
$2.99 ≈
¥21.70
Tree 4 Six- (Eng. Horn, Clarinet, Lute, Cello, Piano & Percussions)
Tree 4 Six- (Eng. Horn, Clarinet, Lute, Cello, Piano & Percussions)
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Miri De Fer
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Tree 4 Six-
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eMdeFer
#
SheetMusicPlus
Small Ensemble Cello,Clarinet,English Horn,Lute,Multi-Percussion,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1024461 Composed by Miri De Fer...
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Small Ensemble Cello,Clarinet,English Horn,Lute,Multi-Percussion,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1024461 Composed by Miri De Fer. Contemporary,Film/TV,Pop,World. Score and parts. 19 pages. EMdeFer #3087633. Published by eMdeFer (A0.1024461). Tree 4 Six- is original composition for 6 instruments (English Horn, Clarinet, Lute, Cello, Piano and Percussions). Sounds like nostalgic tango with combination of rhythm 7/8 (3,3,2) where it has space for improvisation. It is a part of Haiku2Music project. The version for Voice, 4 instruments and Percussions also exist. Lute can be replaced with Banjo or Guitar.
$40.00 ≈
¥290.35
By Jack Curtis Dubowsky. For Bass Clarinet, Percussion, Marimba, Piano, Cello. New Music; Chamber Music. A contemporary new music piece ulilizing Steve Reich's phasing technique, and grooves where the pulse is strong but the downbeat is ambiguous or obs
By Jack Curtis Dubowsky. For Bass Clarinet, Percussion, Marimba, Piano, Cello. New Music; Chamber Music. A contemporary new music piece ulilizing Steve Reich's phasing technique, and grooves where the pulse is strong but the downbeat is ambiguous or obs
Cello|Bass Clarinet|Percussion|Marimba|Piano
Advanced level
#
Jack Curtis Dubowsky
#
Chamber Music
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By Jack Curtis Dubowsky. For B
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De Stijl Music Digital
#
SheetMusicPlus
By Jack Curtis Dubowsky. For Bass Clarinet, Percussion, Marimba, Piano, Cello. New Music; Chamber Music. A contemporary new music piece ulilizing Steve Reich's ...
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By Jack Curtis Dubowsky. For Bass Clarinet, Percussion, Marimba, Piano, Cello. New Music; Chamber Music. A contemporary new music piece ulilizing Steve Reich's phasing technique, and grooves where the pulse is strong but the downbeat is ambiguous or obscured.. Contemporary; phasing. Advanced. Sheet music. Composed 2011. Duration 5:00. Published by De Stijl Music Digital
$16.00 ≈
¥116.14
Encavement for Bass Clarinet, Cello, Piano and Percussion - Full Score
Encavement for Bass Clarinet, Cello, Piano and Percussion - Full Score
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Contemporary
#
Elbert Liu
#
Encavement for Bass Clarinet,
#
Elbert Liu
#
SheetMusicPlus
Small Ensemble Cello,Clarinet,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.1000748 Composed by Elbert Liu. 20th Century,Contemporary. Scor...
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Small Ensemble Cello,Clarinet,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.1000748 Composed by Elbert Liu. 20th Century,Contemporary. Score and parts. 55 pages. Elbert Liu #5454069. Published by Elbert Liu (A0.1000748).
$19.00 ≈
¥137.92
Encavement for Bass Clarinet, Cello, Piano and Percussion - Instrumental Parts
Encavement for Bass Clarinet, Cello, Piano and Percussion - Instrumental Parts
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Contemporary
#
Elbert Liu
#
Encavement for Bass Clarinet,
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Elbert Liu
#
SheetMusicPlus
Small Ensemble Cello,Clarinet,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.1000750 Composed by Elbert Liu. 20th Century,Contemporary. Scor...
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Small Ensemble Cello,Clarinet,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.1000750 Composed by Elbert Liu. 20th Century,Contemporary. Score and parts. 34 pages. Elbert Liu #5454077. Published by Elbert Liu (A0.1000750).
$8.00 ≈
¥58.07
Phreneticals for Oboe, Clarinet, Violin, Cello, Piano and Percussion - Full Score
Phreneticals for Oboe, Clarinet, Violin, Cello, Piano and Percussion - Full Score
#
Contemporary
#
Elbert Liu
#
Phreneticals for Oboe, Clarine
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Elbert Liu
#
SheetMusicPlus
Small Ensemble Cello,Clarinet,Multi-Percussion,Oboe,Piano,Violin - Level 5 - Digital Download SKU: A0.1000740 Composed by Elbert Liu. 20th Century,Contem...
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Small Ensemble Cello,Clarinet,Multi-Percussion,Oboe,Piano,Violin - Level 5 - Digital Download SKU: A0.1000740 Composed by Elbert Liu. 20th Century,Contemporary. Score and parts. 38 pages. Elbert Liu #5453983. Published by Elbert Liu (A0.1000740).
$20.00 ≈
¥145.18
Long Ago and Far Away: 1st B-flat Clarinet
Long Ago and Far Away: 1st B-flat Clarinet
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Clarinet (band part)
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Classical
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Jerome Kern
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Mark Hayes
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Recorded Acc. Available.
#
Long Ago and Far Away: 1st B-f
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
1st B-flat Clarinet - Digital Download SKU: AX.00-PC-0014967_C1 1st B-flat Clarinet. Composed by Jerome Kern. Arranged by Mark Hayes. Classical. P...
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1st B-flat Clarinet - Digital Download SKU: AX.00-PC-0014967_C1 1st B-flat Clarinet. Composed by Jerome Kern. Arranged by Mark Hayes. Classical. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014967_C1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014967_C1). UPC: 038081399478.This popular song from the 1944 film Cover Girl has been recorded by tons of popular artists from Gene Kelly to Rod Stewart. Just listen as Mark Hayes puts his special signature touch on his richly-orchestrated arrangement. Parts include Score, Flute, Oboe, Clarinet, Bassoon, Horns in F 1 & 2, Trumpet 1, Trumpets 2 & 3, Trombones 1 & 2, Bass Trombone, Tuba, Pitched Percussion (Bells), Non-Pitched Percussion (Sus. Cymbal, Mark Tree), Harp, Piano, Electric Guitar, Bass/Drums, Violin 1, Violin 2, Viola, Cello, Double Bass.Inst. Parts Available (choral); Recorded Acc. Available.
$3.00 ≈
¥21.78
Hold On To The Moment - RHYTHM PACK (Piano/Vocal, Bass, Guitar 1&2, Drum Set, Synth)
Hold On To The Moment - RHYTHM PACK (Piano/Vocal, Bass, Guitar 1&2, Drum Set, Synth)
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W
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2, Bb Clarinet 1 &
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Hold On To The Moment - RHYTHM
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Diamond S Music
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SheetMusicPlus
Bass Guitar,Drum Set,Synthesizer - Level 3 - Digital Download SKU: A0.789893 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. 29 pages. Diamond S Music #...
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Bass Guitar,Drum Set,Synthesizer - Level 3 - Digital Download SKU: A0.789893 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. 29 pages. Diamond S Music #3079757. Published by Diamond S Music (A0.789893). RHYTHM PACK ONLY - Piano/Vocal, Elec. Guitar, Acoustic Guitar, Elec. Bass, Drum Set, Synth Parts. HOLD ON TO THE MOMENT is a beautiful sentimental pop song that can be showcased at graduation ceremonies, Church services, Weddings, and Choir or Band Concerts.You will need at least the Piano/Vocal score to full play this piece. The song begins with a VOCAL SOLO that turns into a TRIO  with a full SATB chorus and Gospel Trio in counterpoint. Full Accompaniment is scored for: Piano, Synthm  Electric Guitar, Acoustic Guitar,  Bass Guitar, Drum Set, Piccolo, Flute 1 & 2, Bb Clarinet 1 & 2, Alto Sax, Tenor Sax, Horn in F, Trumpet 1 & 2, Trombone 1 & 2, Violin 1 & 2, Viola, Cello, Double Bass, Percussion. Can also be performed as a Vocal Solo with Piano (or small group- Piano, Bass, Drums, Guitar). This song begins and ends very sweet, but really grooves and opens up in the middle.  Lyrics are adapted from an anonymous poem, Hold On To The Moment that was used in many school yearbooks years ago, Single file and yet together, we have shared out greatest days. And we carry common memories...).
$15.99 ≈
¥116.07
Piano Concerto No 1
Piano Concerto No 1
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Jordan Grigg
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Piano Concerto No 1
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Jordan Grigg
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1056773 C...
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1056773 Composed by Jordan Grigg. 20th Century,Romantic Period,Standards. Full Performance. Duration 1956. Jordan Grigg #2549009. Published by Jordan Grigg (A0.1056773). I-0II-14:50III-24:55.
$5.99 ≈
¥43.48
Thérèse Brenet : Boustrophédon for flute, clarinet, violin, violoncello and piano
Thérèse Brenet : Boustrophédon for flute, clarinet, violin, violoncello and piano
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Therese Brenet
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Thérèse Brenet : Boustrophé
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano,Violin - Level 5 - Digital Download SKU: A0.532825 Composed by Therese Brenet. Contemporary,Standards. Score an...
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Small Ensemble Cello,Clarinet,Flute,Piano,Violin - Level 5 - Digital Download SKU: A0.532825 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 67 pages. Musik Fabrik Music Publishing #44847. Published by Musik Fabrik Music Publishing (A0.532825). The word Boustrophédon is a 16th century expression which refers to an archaic type of writing in which, after having written a line from left to right, one continues the next line from right to left and then alternates directions. This is the way the oldest known latin inscriptions are written, as well as in the traditional writing of the Touaregs The etymology comes from the Greek “bous†or ox and the verbal form “trophéin†or the verb “to turnâ€. These two elements give the image that this writing is traced in the same way that the ox pulled the plow in the fields In the sub-title, there is an evocation of Rimbaud‘s famous “Vowel“ sonnet : : Oh, sublime trumpet full of strange piercing sounds The author wanted to suggest both musically and technically the manner of this style of writing in boustrophedon. The work begins thus with a sonorous strange sonorous background which suggests this type of writing. This strange atmosphere is created by glissandi on the piano strings as well as on the strings of the violin and the violoncello. These alternating movements create “strange piercing sounds†against which the flute and clarinet alternately play brief sequences which create the outline of a melody. Then the atmosphere changes : the violin, the cello and the piano come together in a percussive violent outburst, which creates a tragic, passionate feeling which may also be considered “strange piercing soundsâ€. Several long aleatoric phrases are then presented like a sonorous halo which intensify to bring the lister to an intense Chorale-like phrase which serves as the central pillar of the work. This phrase is repeated several times, each time gaining in intensity to bring the work to its summit. At the conclusion, the theme is presented again with a great violence, this time without the boustropedon but perhaps with “strange piercing soundsâ€. https://www.youtube.com/watch?v=-SdwCOr-wzA.
$29.95 ≈
¥217.40
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: Cerulean: Doubl
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing #3029401. Published by Musik Fabrik Music Publishing (A0.533592). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The full score without the solo parts is also available for sale.. The parts are on rental from the publisher
$21.95 ≈
¥159.33
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
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Chamber Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Cerulean: Doubl
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399. Published by Musik Fabrik Music Publishing (A0.533591). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The solo parts plus the full score are available for sale. The parts are on rental from the publisher
$17.95 ≈
¥130.29
De Falla 1915 El Amor Brujo arr String Quartet, String Bass, Oboe, Clarinet & Piano
De Falla 1915 El Amor Brujo arr String Quartet, String Bass, Oboe, Clarinet & Piano
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Rainer's Rainbow
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R G Roth
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De Falla 1915 El Amor Brujo ar
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Rainer's Rainbow
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Double Bass,Oboe,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.902153 By Rainer's Rainbow. By Manuel de Falla. Ar...
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Small Ensemble Cello,Clarinet,Double Bass,Oboe,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.902153 By Rainer's Rainbow. By Manuel de Falla. Arranged by R G Roth. 20th Century,Folk,Multicultural,World. Score and parts. 59 pages. Rainer's Rainbow #6434695. Published by Rainer's Rainbow (A0.902153). Manuel De Falla lived from 1876-1946. In 1915 he wrote his El Amor Brujo first for piano then orchestratig it for large orchestra. It is arranged here for a chamber ensemble of the standard String Quartet but adding an Oboe, Clarinet and Piano for color and percussiveness. The String Bass is optional but adds depth to the sound of this Septet.
$12.99 ≈
¥94.29
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download 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 ≈
¥174.14
Soleil Luisant (score)
Soleil Luisant (score)
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Soprano Saxophone and Piano
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Contemporary
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Drake Mabry
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Soleil Luisant
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Drake Mabry
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SheetMusicPlus
Small Ensemble Accordion,Bass Clarinet,Cello,Percussion,Piano,Soprano Saxophone - Digital Download SKU: A0.799434 Composed by Drake Mabry. 20th Century,C...
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Small Ensemble Accordion,Bass Clarinet,Cello,Percussion,Piano,Soprano Saxophone - Digital Download SKU: A0.799434 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 25 pages. Drake Mabry #518831. Published by Drake Mabry (A0.799434). Soleil Luisant was written for the French ensemble 'Aleph' and benefits from the diversity of their instrumentation. Included are the voice, contrabass clarinet, cello, accordion, percussion and piano. The text comes from the 15th century French prince and poet Charles d'Orleans. His life story reads like a soap opera. In three movements, the first line of each poem can be translated as: The weather has left its coat, There is no point in having an unhappy heart and In winter the fire, fire. The score includes written and spatial notation. The last movement is basically a tavern song. The duration is 7'30. This is a manuscript score, thus the reduced price.Soleil Luisant was premiered by the Ensemble Aleph at the Theatre Dunois, Paris, France on December 9, 1996.
$9.99 ≈
¥72.52
L' heure de la Mort (for Orchestra with Cello Solo)
L' heure de la Mort (for Orchestra with Cello Solo)
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Contemporary
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Tito Abeleda
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L' heure de la Mort
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Visionary Quest Records
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Drums,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Viola,Violin - Digital Download SKU: A0.1070268 C...
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Bassoon,Cello,Clarinet,Double Bass,Drums,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Viola,Violin - Digital Download SKU: A0.1070268 Composed by Tito Abeleda. 20th Century,Concert,Contemporary. Full Performance. Duration 630. Visionary Quest Records #5712567. Published by Visionary Quest Records (A0.1070268). L' heure de la Mort means the hour of death. L’ heure de la Mort allows one to to reflect, to contemplate, to grieve, and to ponder one's existence. Musicians, young and seasoned, will find this piece easily accessible and enjoyable for learning and performing. Audiences will identify with the musical emotionality conveyed in this piece as it takes its listeners on a vivid passionate journey filled with much pathos. L’ heure de la Mort not only embraces death but also takes listeners on an epic journey infused with courage, nobility, respect, and courage to overcome our greatest challenges. The piece begins with a dark, foreboding, expressive cello solo motif symbolizing death’s existence. Then it takes an epic climactic build to convey life’s journey with a sense of overcoming adversity as one does throughout life. The strings and woodwinds herald a sweeping triumphant melody while the brass rise gloriously heralding the joys of life. However, the return to the opening theme in the closing represents death’s natural, respectful inevitability, concluding this life as a step to moving onward to the hereafter.L' heure de la Mort (for Orchestra with Cello Solo) was composed by Tito Abeleda (1964 - ). Digital Download = 73 pages Level = Advanced IntermediateInstruments: Flute 1-2, Oboe, Clarinet 1-2, Bassoon1-2, Horn 1-4, Trumpet1-4, Trombone1-2, Timpani, Snare Drum, Bass Drum, Tubular Bells, Orchestral Bells, Cymbals, Piano, Violin 1-2, Viola 1-2, Violoncello Solo, Violoncello 1-2, ContrabassContact Tito for original compositions: http://bit.ly/TitoAbeleda_SoundBetterEmail: tito@visionaryquestrecords.comPRO: BMI.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunesSpecial Thanks to Ivan Siarbolin - photographer for sheet music cover.
$1.99 ≈
¥14.44
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