Partitions Numériques de It's Been A Long, Long Time pour Orchestre de chambre

Tout le site ▾

Mon compte
(connectez-vous)

€

EUR €USD $GBP £CAD $CNY ¥

English

Partitions Gratuites ▾
Partitions Numériques
Librairie Musicale ▾

Matériel de Musique ▾

STUDIO | SONO |

ACCESSOIRES |

It's Been A Long, Long Time
Non classifié 200

Piano & claviers
Piano seul 78
Piano, Voix et Guitare 57
Piano, Voix 31
Piano Facile 20
Instruments en Do 7

Piano Trio: piano, violon, violoncelle 3
2 Pianos, 4 mains 2
Piano (partie séparée) 1
Piano grosses notes 1
Piano Quatuor: piano, violon, alto, violoncelle 1

+ 5 instrumentations

Retracter

Guitares
Guitare notes et tablatures 13
Ligne De Mélodie, (Paroles) et Accords 9
Guitare 9
Ukulele 5
2 Guitares (duo) 4

Guitare (partie séparée) 2
3 Guitares (trio) 1
Paroles et Accords 1
Basse electrique 1
Mandoline 1
Dulcimer 1

+ 6 instrumentations

Retracter

Voix
Chorale SATB 23
Chorale TTBB 13
Chorale 3 parties 11
Voix Alto, Piano 2
Voix Soprano, Piano 2

Chorale SSAA 2
Voix duo 1
Voix haute 1
Voix seule 1
Chorale 2 parties 1

+ 5 instrumentations

Retracter

Vents
Quatuor de Saxophones: 4 saxophones 27
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 26
Quintette de Saxophone: 5 saxophones 26
Ensemble de saxophones 23
2 Flûtes traversières (duo) 17

2 Saxophones (duo) 13
Flûte, Hautbois, Clarinette, Basson 13
Flûte traversière et Piano 11
Clarinette 11
Hautbois (partie séparée) 10
Clarinette et Piano 10
Quatuor de Clarinettes: 4 clarinettes 10
Hautbois, Piano (duo) 9
3 Saxophones (trio) 8
Saxophone Alto et Piano 7
Saxophone Soprano et Piano 7
Saxophone (partie séparée) 7
Ensemble de Clarinettes 7
Quintette de Flûte : 5 flûtes 6
Quatuor de Flûtes : 4 flûtes 5
Saxophone Tenor et Piano 5
Cor anglais, Piano 3
Saxophone, Clarinette (duo) 3
Saxophone Baryton, Piano 3
2 Clarinettes (duo) 3
Flûte à bec Soprano, Piano 2
Flûte et Guitare 2
Saxophone Alto 2
Flute (partie séparée) 2
Trio de Flûtes: 3 flûtes 2
Clarinette, Trompette (duo) 2
2 Hautbois (duo) 2
Clarinette, Violon (duo) 2
3 Clarinettes (trio) 2
Flûte, Clarinette (duo) 2
Flûte à bec Alto 1
Clarinette Basse, Piano 1
Clarinette et Alto 1
Hautbois, Basson (duo) 1
Quatuor de Flûtes à bec 1
Flûte traversière 1
Flûte, Saxophone (duo) 1
Flûte, Hautbois, Clarinette (trio) 1
Hautbois, Clarinette (duo) 1
Flûte, Trompette (duo) 1
Ensemble de Flûtes 1
Ensemble de Hautbois 1
Flûte à Bec 1
Flûte, Violon 1
Quintette de Clarinettes: 5 clarinettes 1
Hautbois, Flûte 1
Clarinette, Guitare (duo) 1
2 Flûte à bec (duo) 1
Flûte, Alto (duo) 1

+ 49 instrumentations

Retracter

Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 25
Quatuor de Cuivres 13
Quatuor de Cuivres : 2 trompettes, trombone, tuba 11
Ensemble de Trompettes 9
Trompette, Piano 9

Ensemble de Trombones 7
Trombone et Piano 7
Trompette 7
Trompette (partie séparée) 5
Trombone (partie séparée) 4
Ensemble de Cors 4
Cor anglais, Piano 3
Euphonium, Piano (duo) 3
Quatuor de Cuivres: 2 trompettes, Cor, trombone 3
2 Trompettes (duo) 2
Quatuor de cuivres: 4 trombones 2
Quatuor de cuivres: 4 cors 2
Trompette, Saxophone (duo) 2
2 Trombones (duo) 2
Tuba 1
Quatuor de cuivres: 4 trompettes 1
2 Cors (duo) 1
Cor et Piano 1
Tuba et Piano 1
Tuba (partie séparée) 1
Trompette, Trombone (duo) 1
2 Tubas (duo) 1
4 Tubas 1
Cor (partie séparée) 1
Ensemble de Tubas 1

+ 25 instrumentations

Retracter

Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 33
Violon et Piano 16
Alto, Piano 13
Violoncelle, Piano 10
2 Violons (duo) 9

Violon, Violoncelle (duo) 7
Harpe 5
Violoncelle (partie séparée) 5
2 Violoncelles (duo) 5
2 Altos (duo) 4
Violon, Alto (duo) 4
Quintette à cordes: 2 violons, alto, violoncelle, basse 3
Trio à Cordes: violon, alto, violoncelle 3
4 Violoncelles 3
Quatuor à cordes : 4 altos 2
Trio à Cordes: 2 violons, violoncelle 2
Violon (partie séparée) 2
Contrebasse (partie séparée) 2
Quatuor à cordes: 4 violons 2
Violon 1
2 Contrebasses (duo) 1
Trio à cordes: 3 altos 1
Alto, Violoncelle (duo) 1
Trio à Cordes: 3 violoncelles 1
Violoncelle 1
2 Harpes (duo) 1
Contrebasse, Piano (duo) 1

+ 22 instrumentations

Retracter

Percussions & orchestre
Orchestre 16
Orchestre d'harmonie 15
Ensemble Jazz 10
Jazz combo 7
Ensemble de cuivres 6

Orchestre de chambre 3

Orchestre à Cordes 3
Batterie 2
Cloches 2
Batterie (partie séparée) 1
Piano et Orchestre 1

+ 6 instrumentations

Retracter

Autres

Imprimer aprés achat

Accueil

Européens

Américains

Chez Virtualsheetmusic

Artistes Internationaux

Artistes Francophones

Top artistes

POP
Adele
Billie Eilish
Ed Sheeran
BTS
Coldplay
Pharrel Williams
Daft Punk
Avicii
Bruno Mars
Lily Allen
Birdy
John Legend
Passenger
Beatles
NEW AGE / CONTEMPORAINS :
Ludovico Einaudi
Yiruma
John Williams
Piazzolla
John Rutter
Dmitri Shostakovich
Benjamin Britten
FILMS
Lin-Manuel Miranda
Joe Hisaishi
Ennio Morricone
Yann Tiersen
John Williams
Howard Shore
Hans Zimmer
FRANÇAIS :
Slimane
Calogero
Clara Luciani
Vianney
Kendji Girac
Stromae
William Sheller
Georges Brassens
Claude Nougaro
Serge Gainsbourg
Jean Jacques Goldman

Artistes :
• Long, Helen Jane

PARTITIONS GRATUITES
185 000+ partitions

BOUTIQUE PARTITIONS
1 500 000+ acheter et livraison

PARTITIONS NUMÉRIQUES
2 000 000+ acheter et imprimer

MATERIEL DE MUSIQUE
Accessoires & Instruments

Partitions Numériques, Accès après l'Achat

Expédition postale Téléchargement

Tri et filtres :

avec audio

avec vidéo

avec play-along

Vous avez sélectionné:

It's Been A Long, Long Time

Orchestre de chambre

Partitions à imprimer

3 partitions trouvées

Canticum Canticorum for Krzysztof Penderecki

Canticum Canticorum for Krzysztof Penderecki #Orchestre de chambre #AVANCÉ #MohammadHadi Ayanbod #Canticum Canticorum for Krzysz #Rimorarte Edition #SheetMusicPlus

Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. ...(+)

Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Î†ÏƒÎ¼Î± Î‘ÏƒÎ¼Î¬Ï„Ï‰Î½, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people â€¦ not in the messages â€¦. The elements and structure of a language â€¦ are only symbols â€¦. Meanings are not transmittable â€¦ Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section â€“ the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.

$24.99 ≈ 22.93€

Requiem

Requiem #Orchestre de chambre #Harald Weiss #Requiem #Schott Music - Digital #SheetMusicPlus

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· Teil II: ...und es war...(+)

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin â€¢ German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of â€œletting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: â€œI will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though â€œin an oceanâ€ of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: â€œSo teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boyâ€™s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent â€œlux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: â€œEntreiÃŸ dich, Seele, nun der Zeit, entreiÃŸ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ€ [â€œTear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: â€œUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ€ [â€œAnd the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: â€œUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ€ [â€œAnd my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethovenâ€™s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my â€œrenewedâ€ occupation with the â€œoldâ€ country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a â€œhomecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).

$55.99 ≈ 51.38€

Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)

Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas) #Orchestre de chambre #Ofer Ben-Amots #Songs from the Pomegranate Gar #The Composer's Own Press #SheetMusicPlus

Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....(+)

Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas â€“ Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composerâ€™s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: ×—×™×“×•×© â€“ ×¤×™×¨×•×© â€“ ×©×™×ž×•×¨ â€“ ×—×™×¤×•×©). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judÃ©o-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato â€˜sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato â€˜sta el hijo del rey (The Kingâ€™s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha Bâ€™Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com

$54.00 ≈ 49.55€

Acheter des Partitions Numériques à Imprimer

Accueil
A propos
Contact, mentions légales
Espace membre
Service de license
Faire un don

PARTITIONS GRATUITES
LIBRAIRIE MUSICALE
PARTITIONS NUMÉRIQUES
MATERIEL DE MUSIQUE
CONCOURS DE COMPOSITION
ANNUAIRE WEB

Suivre free-scores.com