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Vous avez sélectionné:
Modern classical
expert
Partitions à imprimer
34 partitions trouvées
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26
Modern Dinosaur
Modern Dinosaur
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Martin J
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Modern Dinosaur
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Martin J. Van Klompenberg
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - SKU: A0.1286891 Composed by Martin J. Van Klompenberg. 21st Century,Chamber...
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Woodwind Ensemble,Woodwind Trio Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - SKU: A0.1286891 Composed by Martin J. Van Klompenberg. 21st Century,Chamber,Classical. 100 pages. Martin J. Van Klompenberg #877893. Published by Martin J. Van Klompenberg (A0.1286891). To be classified as a living fossil (or as I like to call it, a Modern Dinosaur), aspecies must have a clear ancestor in the fossil record that highly resembles ourmodern species. Often these species have few living relatives. (For example, theaardvark is currently the only living member of its genus.) People tend to think ofbirds and reptiles when they think of living fossils, but animals from any group canbe classified as such. In this piece, I have sought to explore these differences.Among these uniquely diverse group of animals are the African Lungfish, with itsability to breathe through special lungs, living in hardened clay burrows during thedry season, awaiting the coming rains; the Shoe-Billed Stork, the largest bird offlight with its icy stare and prehistoric appearance, with an aggressively unusualcall; the Alligator, unchanged for millennia, living side by side with it Kingfisherneighbors, not always peacefully; and the Aardvark, the great nocturnal excavatorof Africa.I have long been fascinated by fossils. The urge to learn as much as I could aboutprehistoric animals has never left me, like it does to most around the age of 10.Paired with my love of zoos, being interested in living fossils only makes sense.A portion of all proceeds from Modern Dinosaur will go to the Henry Doorly Zooand Aquarium in Omaha, Nebraska. This facility manages the Species SurvivalProgram (SSP) for Aardvarks for the Association of Zoos and Aquariums, theprimary accreditation organization for North America animal collections.
$50.00 ≈
46.17€
Giovanni Giacomo Gastoldi & others, Il Primo Libro… for 2 Instruments, Modern Clefs
Giovanni Giacomo Gastoldi & others, Il Primo Libro… for 2 Instruments, Modern Clefs
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Giovanni Giacomo Gastoldi, Gio
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Uri A
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Giovanni Giacomo Gastoldi &
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edition Prima Vista - Uri A. Dror
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SheetMusicPlus
Woodwind Ensemble - Level 5 - SKU: A0.956109 Composed by Giovanni Giacomo Gastoldi, Giovanni Paolo Cima, and others. Arranged by Uri A. Dror - edition P...
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Woodwind Ensemble - Level 5 - SKU: A0.956109 Composed by Giovanni Giacomo Gastoldi, Giovanni Paolo Cima, and others. Arranged by Uri A. Dror - edition Prima Vista. Classical,Renaissance. 85 pages. Edition Prima Vista - Uri A. Dror #5722803. Published by edition Prima Vista - Uri A. Dror (A0.956109). These 20 bicinia by Gastoldi, the composer of so many fa la la madrigals, show he was no stranger to contrapuntal writing. 16 more duets by other composers (among them is Giovanni Paolo Cima) complete this edition, based on the original part books printed in Milan in 1598. Modern (G2 & F4) clefs, with the original indicated for each piece.
$85.00 ≈
78.49€
Morely Th., The First Booke of Canzonets for two Voyces, Instrumental Fantasies, Modern Clefs
Morely Th., The First Booke of Canzonets for two Voyces, Instrumental Fantasies, Modern Clefs
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Thomas Morley
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Uri A
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Morely Th., The First Booke of
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edition Prima Vista - Uri A. Dror
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SheetMusicPlus
Woodwind Ensemble - Level 5 - SKU: A0.956113 Composed by Thomas Morley. Arranged by Uri A. Dror - edition Prima Vista. Classical,Renaissance. 16 pages. ...
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Woodwind Ensemble - Level 5 - SKU: A0.956113 Composed by Thomas Morley. Arranged by Uri A. Dror - edition Prima Vista. Classical,Renaissance. 16 pages. Edition Prima Vista - Uri A. Dror #5725801. Published by edition Prima Vista - Uri A. Dror (A0.956113). These lovely instrumental Fantasies were composed and printed alongside Morley’s vocal Canzonets, in London, during the reign of Queen Elizabeth I. They can be played on recorders, viola da gambas etc. Score (based on the original print part-books), modern (G) clefs.
$16.00 ≈
14.77€
Prism: 14 Modern Jazz Etudes for Any Instrument
Prism: 14 Modern Jazz Etudes for Any Instrument
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Mark Nagy
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Mark Nagy
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Prism: 14 Modern Jazz Etudes f
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Mark Nagy
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.486034 By Mark Nagy. By Mark Nagy. Arranged by Mark Nagy. 20th Century,A Cappella,Classical,Contemporary,Jazz. Ind...
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Instrumental Solo - Level 5 - SKU: A0.486034 By Mark Nagy. By Mark Nagy. Arranged by Mark Nagy. 20th Century,A Cappella,Classical,Contemporary,Jazz. Individual part. 29 pages. Mark Nagy #104554. Published by Mark Nagy (A0.486034). This is a collection of 14 etudes originally written for saxophone, but they can be played on any instrument. Each piece is intended to convey, by the character of the piece, a color. This music has many influences ranging from Bartok, Webern, and Wagner in the western European tradition as well as American composers such as Coltrane, Mingus, and Ellington. Please enjoy!
$15.00 ≈
13.85€
O DULCIS VIRGO
O DULCIS VIRGO
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Gunter Scholler
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O DULCIS VIRGO
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Scholler
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SheetMusicPlus
Choral Choir (4-Part) - Level 5 - SKU: A0.1016063 Composed by Gunter Scholler. Christian,Concert,Contemporary,Sacred. Octavo. 7 pages. Scholler #5286149...
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Choral Choir (4-Part) - Level 5 - SKU: A0.1016063 Composed by Gunter Scholler. Christian,Concert,Contemporary,Sacred. Octavo. 7 pages. Scholler #5286149. Published by Scholler (A0.1016063). Spiritual contemporary-classical Music creating unearthly sounds for professional mixed choir & stringsBig choir and String Orchestra Great music for Live-performancesmovement number 6 of R E I S E N D E D E S J A K O B S W E G E S 8 songs that symbolize the travelers of the Way of St. James. From Germany to Spain, catchy songs in 4 different languages: Latin, French, German and SpainThe entire work contains: 1. MIGRANDI, (catchy tune), Ends with a lot of sound S/S/A/A/T/T/B/B Latin2. COMPOSTELLE ? POURQUOI PAS ? (Leggiero & animato), French3. LA CHANSON DU DEVOIR DU PELERIN (spiritual song on dancing strings), French4. WANDERSCHAFT ( rhythmic play), german5. EIN TOAST DIESER FREUNDESRUNDE (solemn and measured), german and french6. O DULCIS VIRGO (modern-classical spiritual , Ave Maria contemporary), latin7. QUIS SCIT ? (imposing and con brio for the strings), latin8. CAMINANTE (Spanish sound and a lot of joy in singing ) spanish
$3.49 ≈
3.22€
Path
Path
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Contemporain
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Nick Hunter
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Path
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Nick Hunter
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.947230 Composed by Nick Hunter. Contemporary. Score and parts. 16 pages. Nick Hunter #4984...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.947230 Composed by Nick Hunter. Contemporary. Score and parts. 16 pages. Nick Hunter #4984327. Published by Nick Hunter (A0.947230). Path for piano duet. An exciting, interesting and challenging new modern classical piece for piano duet. Approximately 3.5 mins long.
$3.99 ≈
3.68€
with/alone
with/alone
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Contemporain
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Nick Hunter
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#
with/alone
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Nick Hunter
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SheetMusicPlus
Small Ensemble High Voice,Piano Accompaniment,Violin - Level 5 - SKU: A0.947236 Composed by Nick Hunter. Contemporary. Score and parts. 35 pages. Nick H...
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Small Ensemble High Voice,Piano Accompaniment,Violin - Level 5 - SKU: A0.947236 Composed by Nick Hunter. Contemporary. Score and parts. 35 pages. Nick Hunter #6065847. Published by Nick Hunter (A0.947236). A modern classical work for mezzo soprano, violin and piano. An evocative work comprising of a combination of solos and duets between the different parts and only beginning and ending with the complete trio. Approximately 10 minutes long. .
$8.99 ≈
8.30€
Conversations trio
Conversations trio
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Contemporain
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Laurie J
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Conversations trio
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KunzleMusic
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SheetMusicPlus
Instrumental Duet,Piano Cello,Horn,Instrumental Duet,Piano - Level 5 - SKU: A0.1023718 Composed by Laurie J. Kunzle. Contemporary. Score and parts. 41 p...
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Instrumental Duet,Piano Cello,Horn,Instrumental Duet,Piano - Level 5 - SKU: A0.1023718 Composed by Laurie J. Kunzle. Contemporary. Score and parts. 41 pages. KunzleMusic #6700255. Published by KunzleMusic (A0.1023718). A modern classical style 3 movement suite for Horn, Cello, and Piano. Individual movements can be played alone. grade level: Medium-Advanced. Duration (3 mvts) 9:30.
$16.00 ≈
14.77€
Al Circo (To the Circus) for Trombone and Harp
Al Circo (To the Circus) for Trombone and Harp
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Contemporain
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Stout, David
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Setzer, Louis
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Al Circo
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Cherry Classics Music
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SheetMusicPlus
Trombone, Harp - Advanced - Composed by Stout, David. Arranged by Setzer, Louis. 20th Century, Contemporary Classical, Modern, Post- Modern, Neo-Clas...
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Trombone, Harp - Advanced - Composed by Stout, David. Arranged by Setzer, Louis. 20th Century, Contemporary Classical, Modern, Post- Modern, Neo-Classical. Set of Parts. 22 pages. Published by Cherry Classics Music
Al Circo (To the Circus) was written in 1968 by David Stout, dedicated to Emory Remington and was premiered by Trombonist Fred Boyd on a recital at the Eastman School of Music with Carolyn Kuban performing on the Harp. The work is in two movements, both in a lighter nature and humorous. Mute colors are an important part of the mood of the work.
David Stout writes about his work:
"I wrote this when I was a junior at the Eastman School of Music. Fred Boyd, a bass trombonist, wanted to play it. At the bottom of page 4, on the trombone part, where it says ?hand in bell? he had a problem. With a bass trombone he couldn?t reach around far enough to put his hand in deep enough to distort the tone enough. So, he calls me into his practice room one day and tells me to turn around so I can?t see him. He then plays that passage. ?Is that the sound you want?? he asks. ?Yeah that?s it. Perfect!? I reply. I turn around. He shows me a large plastic fish that he had used to shove in the bell. So on his part, we mark those notes, ?con sardino.?
Dr. Louis Setzer, the author of Solo Literature for Trombone and Harp - An Annotated Bibliography, rediscovered the work and received permission from the composer to edit the composition from the original pencil manuscript. He believes this work is the oldest known original composition for Trombone and Harp
This fine work is appropriate for advanced performers and is about 7 minutes in length.
$25.00 ≈
23.08€
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Gioachino Rossini
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Nicole Elyse DiPaolo
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Largo al factotum
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Nicole Elyse DiPaolo
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Op...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,†the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations. About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.26€
Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments
Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments
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Opera
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Classique
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Maurice Ravel
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Nicole Elyse DiPaolo
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Arrière! Je réch
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse DiPaolo #785149. Published by Nicole Elyse DiPaolo (A0.1185473). The first of its kind, this is a genuinely playable and slightly-to-moderately simplified piano/vocal reduction of Arrière! Je réchauffe les bons, the Fire Aria from Ravel's L'enfant et les sortilèges (1925)​. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the often chaotic vocal score, particularly if the murmuring section after the standard audition cut, which is very poorly rendered in the standard reduction, is also being included. Pianists may now enjoy playing this aria comfortably, without risking strain/injury or audition-room chaos.This Accessible Accompaniment is more generous than standard audition cuts, ending just before L'enfant re-enters with j'ai peur. It is 91 measures in total and ideal for recitals as well. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.26€
O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
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Richard Wagner
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Nicole Elyse DiPaolo
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O Sachs! Mein Freund!
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Oper...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 5 pages. Nicole Elyse DiPaolo #893099. Published by Nicole Elyse DiPaolo (A0.1303524). The first of its kind, this is a genuinely playable piano/vocal reduction of O Sachs! Mein Freund!, Eva's aria from Richard Wagner's Die Meistersinger von Nurnberg. Dramatic sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist is unlikely to know this aria and may become rattled by the chaotic piano reductions in the currently available vocal scores. Pianists with limited practice time may now enjoy playing this aria comfortably as well. Because vocal line/orchestral doublings are characteristic of Wagner, those have been preserved in this edition. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
$8.95 ≈
8.26€
Divertimento a7
Divertimento a7
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Contemporain
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Rudy Volkmann
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Divertimento a7
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Rudy Volkmann
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Oboe - Level 5 - SKU: A0.1005650 Composed by Rudy Volkmann. 20th Century,Concert,Contemporary. Score and parts. 146 page...
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Small Ensemble Bassoon,Clarinet,Oboe - Level 5 - SKU: A0.1005650 Composed by Rudy Volkmann. 20th Century,Concert,Contemporary. Score and parts. 146 pages. Rudy Volkmann #6114339. Published by Rudy Volkmann (A0.1005650). This is a highly accessible piece for audiences and advanced players alike, A classical Divertimento with classical forms, listenable melodies, and modern harmonic structures. With seven players and seven movements, each one member of the ensemble has one movement in which they are featured. The divertimento, nachtmusik, or cassation (all the same form) was one of the main formats of the Enlightenment (classical period). It was the perfect party piece for roving musicians - a march by which to enter, an allegro as entertainment, a minuet for the guests to dance, a slow movement to catch their breaths and find another partner for the next piece, another minuet, one more piece to listen to for entertainment, and a final march by which to leave. Removing the outside movements (the marches) and one of the minuets gave us the classical sonata form for symphonies.
$45.00 ≈
41.55€
Debussy: Prélude à l'après-midi d'un faune - symphonic wind
Debussy: Prélude à l'après-midi d'un faune - symphonic wind
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Classique
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Claude Debussy
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Ray Thompson
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Debussy: Prélude &agrav
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Oboe/English Horn - Level 5 - SKU: A0.1377677 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century,Cham...
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Bassoon,Clarinet,Double Bass,Flute,Oboe/English Horn - Level 5 - SKU: A0.1377677 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century,Chamber,Classical. 62 pages. RayThompsonMusic #962154. Published by RayThompsonMusic (A0.1377677). Prélude à l'après-midi d'un faune arranged wind decet/dectet (double wind quintet/bass)Additional flute 3/cor anglais.(They are not essential and can be omitted)Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in 1894 and first performed in Paris on 22 December 1894, conducted by Gustave Doret.The flute solo was played by Georges Barrère.The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. It is one of Debussy's most famous works and is considered a turning point in the history of Western art music as well as a masterpiece of Impressionist composition. Pierre Boulez considered the score to be the beginning of modern music, observing that the flute of the faun brought new breath to the art of music.Debussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.
$29.95 ≈
27.65€
Nimbus for Solo Guitar
Nimbus for Solo Guitar
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Mason Peralta
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Nimbus for Solo Guitar
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Mason Peralta
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1027911 Composed by Mason Peralta. Contemporary,Jazz. Individual part. 5 pages. Mason Peralta #3088127. Published by Mas...
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Solo Guitar - Level 5 - SKU: A0.1027911 Composed by Mason Peralta. Contemporary,Jazz. Individual part. 5 pages. Mason Peralta #3088127. Published by Mason Peralta (A0.1027911). Nimbus for Solo Guitar is a modern concert piece in one movement. It is an hommage to the works of guitarist Django Reinhardt and blurs the line between traditional classical and jazz repertoire.Number of pages: 4Total time: approx. 3 minutes, 30 secondshttps://masonperalta.com
$5.99 ≈
5.53€
Sonata a 3 (d moll)
Sonata a 3 (d moll)
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Antonio Bertali
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Matthijs van der Moolen
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Sonata a 3
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Matthijs van der Moolen
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SheetMusicPlus
Small Ensemble Basso Continuo,Trombone,Violin - Level 5 - SKU: A0.882466 Composed by Antonio Bertali. Arranged by Matthijs van der Moolen. Baroque,Class...
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Small Ensemble Basso Continuo,Trombone,Violin - Level 5 - SKU: A0.882466 Composed by Antonio Bertali. Arranged by Matthijs van der Moolen. Baroque,Classical,Renaissance. Score and parts. 16 pages. Matthijs van der Moolen #439613. Published by Matthijs van der Moolen (A0.882466). This is a beautiful early-baroque sonata by the Italian composer Antonio Bertali. The 'alto' part is often played by a trombone, but it is also historically correct to play it on another instrument with the same range, like a viola da gamba. All parts are very virtuosic, and all have their own solo part within the piece. This edition is taken from the manuscript in the Düben collection. There is also a version available on this website with modern clefs.
$17.49 ≈
16.15€
Diehnelt: Stile Antico for 5-voice cello ensemble
Diehnelt: Stile Antico for 5-voice cello ensemble
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Kim Diehnelt
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Diehnelt: Stile Antico for 5-v
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Kim Diehnelt
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SheetMusicPlus
String Ensemble,String Quintet Cello - Level 5 - SKU: A0.809059 Composed by Kim Diehnelt. Baroque,Concert,Contemporary. Score and parts. 10 pages. Kim D...
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String Ensemble,String Quintet Cello - Level 5 - SKU: A0.809059 Composed by Kim Diehnelt. Baroque,Concert,Contemporary. Score and parts. 10 pages. Kim Diehnelt #4350647. Published by Kim Diehnelt (A0.809059). Stile Antico: On a theme of Palestrina (2012) for 5-voice cello ensemble The title Stile Antico refers a style of musical composition from the 16th century which was often employed in church music, because it allowed the words (sacred text) of each singer to be clearly heard. This pre-classical polyphony was many-voiced and without instrumental accompaniment. Inspired by a theme from a mass by Giovanni Pierluigi da Palestrina (c. 1525 – 1594) ‘Praestet hoc nati genitor, I present a modern cello ensemble rendition of this ‘ancient style.’ Most conspicuous of the work’s attributes is the use of time. Rather than moving the musical ideas and themes towards a goal or through structural development and a sense of progress, the music (and time) unfolds perhaps as the natural swing of a pendulum; neither clinging to a past, nor anticipating a future. The listener beholds one moment continuously being reshaped through sound. Also, the concepts of melody and harmony as we assume them today are blurred. Of the five players, no one has the melody, no one has the harmony, yet together the ensemble combines to create a continuous flux of melodic-harmony (or harmonic-melody). This idea is of another type of ‘stile antico.’ Within the ideas of alchemy, which richly influenced the music of the 16th century and beyond, exists the concept that one plus one equals three. That is, two objects also create a ‘between-ness.’ So too with musical voices; the combination of two voices creates a new between-ness. Through out this work the individual cellists create a continuously shifting canvas of ‘between-ness.’ The music and the performers ask for a renewed perception of the many between-nesses of our present moment. www.kimdiehnelt.com(c) 2012 (ASCAP)
$18.95 ≈
17.50€
Morely Th., The First Booke of Canzonets for two Voyces, Instrumental Fantasies, Original Clefs
Morely Th., The First Booke of Canzonets for two Voyces, Instrumental Fantasies, Original Clefs
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Thomas Morley
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Uri A
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Morely Th., The First Booke of
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edition Prima Vista - Uri A. Dror
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SheetMusicPlus
Large Ensemble Alto Recorder,Soprano Recorder,Tenor Recorder,Viola da gamba,Violin - Level 5 - SKU: A0.956115 Composed by Thomas Morley. Arranged by Uri...
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Large Ensemble Alto Recorder,Soprano Recorder,Tenor Recorder,Viola da gamba,Violin - Level 5 - SKU: A0.956115 Composed by Thomas Morley. Arranged by Uri A. Dror - edition Prima Vista. Classical,Renaissance. Score and parts. 16 pages. Edition Prima Vista - Uri A. Dror #5725787. Published by edition Prima Vista - Uri A. Dror (A0.956115). These lovely instrumental Fantasies were composed and printed alongside Morley’s vocal Canzonets, in London, during the reign of Queen Elizabeth I. They can be played on recorders, viola da gambas etc. Score (based on the original print part-books), modern (G) clefs.
$16.00 ≈
14.77€
Canzon per Sonar Primi Toni a 8 for 8-part Brass Ensemble Octet
Canzon per Sonar Primi Toni a 8 for 8-part Brass Ensemble Octet
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Giovanni Gabrieli
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Damiano Drei
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Canzon per Sonar Primi Toni a
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Gordon Cherry
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SheetMusicPlus
B-Flat Trumpet,Bass Trombone,Horn,Tenor Trombone,Tuba - Level 5 - SKU: A0.811184 Composed by Giovanni Gabrieli. Arranged by Damiano Drei. Baroque,Classi...
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B-Flat Trumpet,Bass Trombone,Horn,Tenor Trombone,Tuba - Level 5 - SKU: A0.811184 Composed by Giovanni Gabrieli. Arranged by Damiano Drei. Baroque,Classical,Renaissance. 37 pages. Gordon Cherry #5969647. Published by Gordon Cherry (A0.811184). Giovanni Gabrieli's Canzon per sonar primi toni à 8 (Ch. 170) is an instrumental work in 8 parts (2 choirs) composed in 1597 as part of a collection of 45 motets titled Sacrae Symphoniae. These works were performed in St. Marks Basilica after Gabrieli returned to Venice to become the principal organist there and propelled him to become recognized as one of Europe's leading composers. The instrumental works of the Sacrae Symphoniae have been cherished by brass performers for many years now. This new arrangement by Damiano Drei has been carefully edited for modern instruments with minimal changes and includes substitute parts to allow performance of this glorious work by 8 or more advanced performers. Instrumentation is: 4 Trumpets in B-flat (2 may use piccolo), Horn in F, 3 Trombones. Alternate parts are written for Horns in F, Trombone and Tuba (down an octave).
$32.50 ≈
30.01€
Canzon per Sonar Duodecimi Toni a 8 for 8-part Brass Ensemble
Canzon per Sonar Duodecimi Toni a 8 for 8-part Brass Ensemble
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Giovanni Gabrieli
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Damiano Drei
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Canzon per Sonar Duodecimi Ton
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Gordon Cherry
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SheetMusicPlus
B-Flat Trumpet,Bass Trombone,Euphonium,Horn,Tenor Trombone,Tuba - Level 5 - SKU: A0.792730 Composed by Giovanni Gabrieli. Arranged by Damiano Drei. Baro...
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B-Flat Trumpet,Bass Trombone,Euphonium,Horn,Tenor Trombone,Tuba - Level 5 - SKU: A0.792730 Composed by Giovanni Gabrieli. Arranged by Damiano Drei. Baroque,Classical,Renaissance. 27 pages. Gordon Cherry #6092697. Published by Gordon Cherry (A0.792730). Giovanni Gabrieli's Canzon per sonar duodecimi toni à 8 (Ch. 174) is an instrumental work in 8 parts (2 choirs antiphonal) composed in 1597 as part of a collection of 45 motets titled Sacrae Symphoniae. These works were performed in St. Marks Basilica after Gabrieli returned to Venice to become the principal organist there and propelled him to become recognized as one of Europe's leading composers.The instrumental works of the Sacrae Symphoniae have been cherished by brass performers for many years now. This new arrangement by Damiano Drei has been carefully edited for modern instruments with minimal changes and includes substitute parts to allow the performance of this glorious work by 8 or more advanced performers.Instrumentation is for: 4 Trumpets in B-flat (2 may use piccolo), Horn in F, 2 Trombones and Tuba. Alternate parts are written for Horns in F and Trombone).
$32.50 ≈
30.01€
Gli Uccelli
Gli Uccelli
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Contemporain
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Ottorino Respighi
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John Gibson
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Gli Uccelli
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JB Linear
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 5 - SKU: A0.676752 Composed by Ottorino Respighi. Arranged by John Gibson. ...
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Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 5 - SKU: A0.676752 Composed by Ottorino Respighi. Arranged by John Gibson. Classical,Contemporary. 48 pages. JB Linear #285675. Published by JB Linear (A0.676752). Ottorino Respighi composed Gil Uccelli (THE BIRDS) for small orchestra in 1931. This version for LARGE CLARINET CHOIR is set by John Gibson. This is the PRELUDE ONLY. Respighi did not attempt to exactlly use bird sounds - with the exception of the cuckoo of course. He took music from the 17th century and re-set them as modern pieces. This would be for an advanced clarinet choir. The parts are Eb clarinet, Bb clarinet 1-4, alto clarinet 1, alto clarinet 2, bass clarinet 1, bass clarinet 2, contrabass and contralto. If there are no alto clarinets, parts for alternate 5th Bb and 6th Bb are provided as alternates.
$18.00 ≈
16.62€
Gli Uccelli
Gli Uccelli
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Contemporain
#
Ottorino Respighi
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John Gibson
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Gli Uccelli
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JB Linear
#
SheetMusicPlus
Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 5 - SKU: A0.758073 Composed by Ottorino Respighi. Arranged by John Gibson. ...
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Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 5 - SKU: A0.758073 Composed by Ottorino Respighi. Arranged by John Gibson. Classical,Contemporary. 53 pages. JB Linear #365146. Published by JB Linear (A0.758073). Ottorino Respighi composed Gil Uccelli (THE BIRDS) for small orchestra in 1931. This version for CLARINET CHOIR is set by John Gibson. This is the 3rd movement (The CHICKEN) only. Respighi did not attempt to exactlly use bird sounds - with the exception of the cuckoo of course. He took music from the 17th century and re-set them as modern pieces. This would be for an advanced clarinet choir. The parts are Eb clarinet, Bb clarinet 1-3, alto clarinet, bass clarinet , contrabass and contralto. If there are no alto clarinets, parts for alternate 4th Bb is provided.
$16.50 ≈
15.24€
Gli Uccelli
Gli Uccelli
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Contemporain
#
Ottorino Respighi
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John Gibson
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Gli Uccelli
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JB Linear
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SheetMusicPlus
Woodwind Ensemble Flute,Piccolo - Level 5 - SKU: A0.776067 Composed by Ottorino Respighi. Arranged by John Gibson. 20th Century,Classical. 30 pages. JB ...
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Woodwind Ensemble Flute,Piccolo - Level 5 - SKU: A0.776067 Composed by Ottorino Respighi. Arranged by John Gibson. 20th Century,Classical. 30 pages. JB Linear #383569. Published by JB Linear (A0.776067). OTTORINO RESPIGHI composed Gil Uccelli (THE BIRDS) for small orchestra in 1931. This version for FLUTE CHOIR is set by John Gibson. This is the 3rd movement (THE CHICKEN ) only. Respighi did not attempt to exactlly use bird sounds - with the exception of the cuckoo of course. He took music from the 17th century and re-set them as modern pieces. This would be for an advanced ensemble. (piccolo, flute 1 and 2, alto flute 1 and 2).
$18.99 ≈
17.53€
Symphony for Piano Quintet - Score Only
Symphony for Piano Quintet - Score Only
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Contemporain
#
Antonio Gervasoni
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Symphony for Piano Quintet - S
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Antonio Gervasoni
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SheetMusicPlus
Piano Quintet,String Ensemble - Level 5 - SKU: A0.1088419 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 74 pages. Antonio Gerv...
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Piano Quintet,String Ensemble - Level 5 - SKU: A0.1088419 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 74 pages. Antonio Gervasoni #692684. Published by Antonio Gervasoni (A0.1088419). Five-movement work for piano quintet. Ever since I had the idea of ​​writing a symphony, many years ago, I always knew that I wanted it to be about my childhood memories. I spent much of my childhood in the house of my paternal grandparents and both the house, its inhabitants and the occasional guests we had, appear from time to time in my dreams. One day I asked myself the following question: can I write a symphony for a set of instruments other than an orchestra? Is it a requirement that a symphony be performed by an orchestra? What is a symphony? How is it defined in modern times? I know some people will find the title of my piece inappropriate and argue that I could simply have called it a piano quintet and dispensed with the word symphony in its name. However, I think that the work conveys a certain symphonic character and, therefore, it is, in my opinion, a symphony, a symphony for piano quintet.
$11.99 ≈
11.07€
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