Partitions Numériques de Bud Powell pour Orchestre

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Bud Powell
Non classifié 36

Piano & claviers
Piano seul 129
Instruments en Do 21
Piano, Voix et Guitare 3
Piano, Voix 2
Piano Facile 2

Guitares
Ligne De Mélodie, (Paroles) et Accords 13
Guitare 11
Guitare notes et tablatures 7
Ukulele 2
Paroles et Accords 1

Voix
Chorale SATB 2
Voix seule 1

Vents
Saxophone (partie séparée) 11
Saxophone Tenor 2
Quatuor de Saxophones: 4 saxophones 2
Flûte traversière 1
Clarinette 1

Quatuor de Flûtes : 4 flûtes 1
Instruments en Mib 1
Quatuor de Clarinettes: 4 clarinettes 1

+ 3 instrumentations

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Cuivres
Trombone (partie séparée) 12
Trompette (partie séparée) 12
Bass Clef Instruments 9
Trompette 3
Cor 1

Instruments en Sib 1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 1
Trombone 1

+ 3 instrumentations

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Cordes
Violon 1
Quatuor à cordes: 2 violons, alto, violoncelle 1
Alto seul 1

Percussions & orchestre
Jazz combo 8
Ensemble Jazz 6
Orchestre 3

Orchestre d'harmonie 1
Batterie 1

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Artistes :
• Powell, Bud
• Powell, Baden
• Powell, John

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Bud Powell

Orchestre

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3 partitions trouvées

Autumn In New York

Autumn In New York #Orchestre #INTERMÉDIAIRE/AVANCÉ #Jazz #Bud Powell #Kevin Riley #Autumn In New York #Kevin Riley #SheetMusicPlus

Full Orchestra - Level 4 - SKU: A0.850639 By Bud Powell. By Vernon Duke. Arranged by Kevin Riley. 20th Century,Film/TV,Jazz,Standards. Score and parts. ...(+)

Full Orchestra - Level 4 - SKU: A0.850639 By Bud Powell. By Vernon Duke. Arranged by Kevin Riley. 20th Century,Film/TV,Jazz,Standards. Score and parts. 31 pages. Kevin Riley #457309. Published by Kevin Riley (A0.850639). Autumn in New York is a jazz standard and popular song composed by Vernon Duke in Westport, Connecticut in the summer of 1934. It was written without a commission or for a specific show, but Duke offered it to producer Murray Anderson for his Broadway musical Thumbs Up!. The play opened on December 27, 1934 where the song was performed by singer J. Harold Murray. Many versions of the song have been recorded over the years by numerous musicians and singers. The only version to achieve chart success as a single in the USA was that by Frank Sinatra which reached No. 27 in 1949. Jazz versions have been performed by The Hi Lo's, Charlie Parker, Billie Holiday, Bing Crosby, Stan Kenton, Sarah Vaughan, Sheila Jordan, Bill Evans, Tal Farlow, Ahmad Jamal, Buddy De Franco, Salvador Sobral, Al Haig, Diana Krall, and a duet version by Scottish singers Todd Gordon and Carol Kidd. The song was also recorded by Jo Stafford, and by Louis Armstrong and Ella Fitzgerald as a duet. This version for Solo Alto Saxophone and Orchestra requires your soloist to be able to improvise.

$60.00 ≈ 55.19€

Concerto for Orchestra, opus 111 (2005, rev. 2010)

Concerto for Orchestra, opus 111 (2005, rev. 2010) #Orchestre #INTERMÉDIAIRE/AVANCÉ #Thomas Oboe Lee #Concerto for Orchestra, opus 1 #Thomas Oboe Lee #SheetMusicPlus

Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 ...(+)

Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartokâ€™s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo â€¦ Misterioso! II. Allegro con moto â€¦ Evidence!!! III. Adagio â€¦ Epistrophy! IV. Andante â€¦ In Walked Bud! V. Presto â€¦ Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause â€“ thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carterâ€™s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monkâ€™s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monkâ€™s Evidence is a tune with jabs and punches, irregularly placed within the measure â€“ not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monkâ€™s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monkâ€™s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monkâ€™s Rhythm-a-ning, I began the last movement with a solo for the percussion section â€“ timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005

$9.99 ≈ 9.19€

Autumn In New York

Autumn In New York #Orchestre #AVANCÉ #Bud Powell #Matt Amy #Autumn In New York #Matt Amy Music #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1411253 By Bud Powell. By Vernon Duke. Arranged by Matt Amy. Broadway,Contemporary,Film/TV,Jazz,Musical/Show,Pop. 59 ...(+)

Full Orchestra - Level 5 - SKU: A0.1411253 By Bud Powell. By Vernon Duke. Arranged by Matt Amy. Broadway,Contemporary,Film/TV,Jazz,Musical/Show,Pop. 59 pages. Matt Amy Music #993588. Published by Matt Amy Music (A0.1411253). Key: F majorBPM: 110Style: Swing BalladDuration: 3:31â€œÂ Ensemble type: Pops Orchestra (reduced)Full Recording (MIDI): Autumn in New York (MIDI)Instrumentation- Solo Trumpet- Flute- Oboe- Clarinet- Bassoon- Horn 1, 2- Trumpet- Trombone- Piano- Guitar- Acoustic Bass (Rhythm Section)- Drums- Percussion- Violin 1- Violin 2- Viola- CelloClick the following link for more arrangements by Matt AmyContact Matt here

$75.00 ≈ 68.98€

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