Partitions Numériques de Renaissance Lute Music pour Orchestre de chambre

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Renaissance Lute Music
Non classifié 150

Piano & claviers
Piano, Voix 7
Piano seul 7
Instruments en Do 5
Piano Facile 2
Accordéon 2

Piano, Voix et Guitare 1
Piano Quatuor: piano, violon, alto, violoncelle 1
Orgue 1

+ 3 instrumentations

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Guitares
Ukulele 39
Guitare 38
Guitare notes et tablatures 12
2 Guitares (duo) 2
Ukulele Baryton 2

Guitare, Flûte, Clarinette 1
Ligne De Mélodie, (Paroles) et Accords 1
Luth 1

+ 3 instrumentations

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Voix
Chorale SATB 7
Chorale 3 parties 4
Chorale Unison 2
Chorale TTBB 1
Voix moyenne, Piano 1

Chorale 2 parties 1

+ 1 instrumentations

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Vents
Flûte, Hautbois, Clarinette, Basson 60
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 56
Quatuor de Flûtes : 4 flûtes 42
Ensemble de Flûtes 24
2 Flûtes traversières (duo) 22

Flûte et Guitare 22
Flûte traversière et Piano 21
Flûte traversière 19
Ensemble De Flûte à bec 18
Trio de Flûtes: 3 flûtes 14
Quintette de Flûte : 5 flûtes 11
Flute (partie séparée) 11
Flûte, Clarinette (duo) 10
Quatuor de Clarinettes: 4 clarinettes 9
Flûte, Hautbois (duo) 8
Quatuor de Saxophones: 4 saxophones 5
Quintette de Saxophone: 5 saxophones 4
Flûte, Violoncelle 4
Flûte, Violoncelle, Piano (trio) 3
Quatuor de Flûtes à bec 2
Flûte à bec Alto, Piano 2
Flûte, Hautbois, Clarinette (trio) 2
Flûte à bec Soprano, Piano 2
Clarinette et Piano 2
2 Flûte à bec (duo) 2
Flûte, Clarinette, Cor, Basson (Quartet) 2
Hautbois, Piano (duo) 2
Hautbois, Basson et Piano 1
Saxophone Tenor et Piano 1
Clarinette 1
3 Clarinettes (trio) 1
Flute, harpe et violon 1
Saxophone Soprano et Piano 1
2 Clarinettes (duo) 1
Hautbois, Clarinette, Basson (trio d'anches) 1
Flûte, Trombone (duo) 1
Flûte et Quatuor à Cordes 1
Flûte, Hautbois, Basson 1
Ensemble de Clarinettes 1
Cor anglais, Piano 1
Saxophone Alto et Piano 1
Saxophone Baryton, Piano 1

+ 37 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 5
Quatuor de Cuivres: 2 trompettes, Cor, trombone 4
Quatuor de Cuivres : 2 trompettes, trombone, tuba 2
Trombone et Piano 2
Trompette 1

Tuba et Piano 1
Cor anglais, Piano 1
Cor et Piano 1
Trompette, Piano 1
Ensemble de Trompettes 1
Trombone 1
3 Euphoniums 1

+ 7 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 11
Violon et Piano 9
Harpe 6
Violoncelle, Piano 6
Quintette à cordes: 2 violons, alto, violoncelle, basse 4

Harpe, Flûte (duo) 4
Alto, Piano 2
Violon (partie séparée) 2
Contre Basse 1
Contrebasse, Piano (duo) 1
Alto seul 1
Trio à Cordes: 2 violons, violoncelle 1
Flûte, Contrebasse (duo) 1
Violon 1
Violoncelle (partie séparée) 1

+ 10 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 10
Orchestre 3
Orchestre de chambre 3

Ensemble de cuivres 3
Orchestre à Cordes 3

Cloches 1
Ensemble Jazz 1

+ 2 instrumentations

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Renaissance Lute Music

Orchestre de chambre

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3 partitions trouvées

Three Laments of Heloise for Chamber Orchestra

Three Laments of Heloise for Chamber Orchestra #Orchestre de chambre #INTERMÉDIAIRE/AVANCÉ #Dosia McKay #Three Laments of Heloise for C #Gavia Music #SheetMusicPlus

Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...(+)

Chamber Orchestra - Level 4 - 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 ≈ 92.73€

Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only

Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only #Orchestre de chambre #AVANCÉ #Christian contemporain #Musique Sacrée #Carson Cooman #Carson Cooman: Symphony No. 3, #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...(+)

Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, â€œAve Maris Stellaâ€ (2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute â€“ as both an important American composer and a significantcontributor to Americaâ€™s contemporary musical life.The workâ€™s basic source material is the plainchant Ave maris stella (â€œHail, star of the seaâ€) â€“appropriate because of Duquesneâ€™s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe workâ€™s tone â€“ becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as â€œan underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.â€ The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up â€“ as in a pentimento.At various points, one can begin to hear the original plainchant â€œpeek outâ€ in subtle ways.The opening section of the movement obsesses again and again on what sounds like aâ€œbeginningâ€ â€“ as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked â€œsinister.â€ After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at theâ€œbeginningâ€ again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly â€“ in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movementâ€™stransformations, and â€œmotetâ€ sections â€“ using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)ï»¿This is the score only. The complete parts and each seperate part are also available as seperate items.

$25.95 ≈ 24.06€

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