Partitions Numériques de How Can I Be Sure pour Orchestre de chambre

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How Can I Be Sure
Non classifié 97

Piano & claviers
Piano seul 55
2 Pianos, 4 mains 21
Instruments en Do 14
Piano, Voix et Guitare 13
Piano, Voix 8

Piano Facile 7
Piano grosses notes 2
Piano Trio: piano, violon, violoncelle 1

+ 3 instrumentations

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Guitares
Guitare notes et tablatures 8
Guitare 7
Ligne De Mélodie, (Paroles) et Accords 6
Basse electrique 3
Ukulele 2

Ensemble de guitares 1
Piano, Guitare (duo) 1

+ 2 instrumentations

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Voix
Chorale SATB 13
Chorale 3 parties 8
Chorale 2 parties 3
Chorale Unison 3
Voix Tenor 1

Chorale SSATTB 1
Chorale SSAA 1

+ 2 instrumentations

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Vents
2 Flûtes traversières (duo) 14
Clarinette 10
Hautbois (partie séparée) 9
Quatuor de Saxophones: 4 saxophones 9
Hautbois, Piano (duo) 4

Flûte traversière et Piano 4
Flûte à bec Soprano 3
Saxophone Alto et Piano 3
Saxophone Tenor et Piano 3
Flûte à bec Alto, Piano 2
Quatuor de Clarinettes: 4 clarinettes 2
Saxophone (partie séparée) 2
Clarinette et Piano 2
Saxophone Alto 2
Flûte, Hautbois, Clarinette, Basson 1
2 Flûtes traversières, Piano 1
Quintette de Clarinettes: 5 clarinettes 1
3 Clarinettes (trio) 1
Saxophone et Orgue 1
Flûte traversière 1
2 Clarinettes (duo) 1
Clarinette, Basson (duo) 1
Flûte à Bec 1
Quatuor de Flûtes à bec 1
Flûte à bec Alto 1
Quintette de Flûte : 5 flûtes 1
2 Clarinettes, Piano 1
Quintette de Saxophone: 5 saxophones 1

+ 23 instrumentations

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Cuivres
Trompette 5
Trombone 4
Trombone et Piano 3
Trompette, Piano 2
Cor et Piano 1

Tuba et Piano 1
Tuba 1
Cor 1
Trompette (partie séparée) 1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 1
Quatuor de Cuivres 1
Quatuor de Cuivres : 2 trompettes, trombone, tuba 1
Trompette, Trombone (duo) 1

+ 8 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 32
Violon, Violoncelle (duo) 14
Violon 8
2 Violons (duo) 7
Violon et Piano 7

Trio à Cordes: 2 violons, violoncelle 7
Trio à Cordes: violon, alto, violoncelle 6
Violoncelle (partie séparée) 5
Harpe 3
Violoncelle, Piano 3
Alto, Piano 3
2 Violoncelles (duo) 2
Violon, Alto (duo) 2
Alto seul 2
Violoncelle 1
Harpe, Voix 1
Quintette à cordes: 2 violons, alto, violoncelle, basse 1

+ 12 instrumentations

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Percussions & orchestre
Batterie 24
Ensemble Jazz 10
Orchestre d'harmonie 10
Cloches 6
Orchestre à Cordes 4

Orchestre 4
Ensemble de cuivres 3
Orchestre de chambre 3

Jazz combo 1
Fanfare 1
Instrumentation Flexible 1

+ 6 instrumentations

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How Can I Be Sure

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 ≈ 93.58€

Dreams - Score Only

Dreams - Score Only #Orchestre de chambre #INTERMÉDIAIRE #Juan Guerra GonzÃ¡lez #Dreams - Score Only #Juan Carlos Guerra Gonzalez #SheetMusicPlus

Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra GonzÃ¡lez. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...(+)

Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra GonzÃ¡lez. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLYÂ Please visit www.juancarlosguerra.com/dreams to buy or rent the parts.Â Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players:Â 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Noteâ€œDreamsâ€ is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Islandâ€™s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work.Â I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams.Â II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the â€œheartbeatâ€ played by the bass drum and timpani, then a more â€œstressfulâ€ section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose!Â III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a â€œorientalâ€ style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra GonzÃ¡lez

$159.99 ≈ 149.72€

Variations on a Rossini Theme op.Posth

Variations on a Rossini Theme op.Posth #Orchestre de chambre #Classique #Frederik FranÃ§ois Chopin #James Strauss #Variations on a Rossini Theme #James Strauss #SheetMusicPlus

Chamber Orchestra - SKU: A0.1035224 Composed by Frederik FranÃ§ois Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...(+)

Chamber Orchestra - SKU: A0.1035224 Composed by Frederik FranÃ§ois Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non piÃ¹ mesta (No longer sad) from Rossiniâ€™s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composerâ€™s father who was a capable amateur flute player. In the end, the piece was probably dedicated to JÃ³zef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composerâ€™s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopinâ€™s hand. You certainly wonâ€™t hear Chopinâ€™s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, itâ€™s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.

$29.99 ≈ 28.06€

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