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It's Magic
Not classified 620

Piano & keyboards
Piano, Voice 506
Piano solo 255
Easy Piano 151
Piano, Vocal and Guitar 36
C Instruments 8

Piano Trio: piano, violin, cello 5
1 Piano, 4 hands 4
2 Pianos, 4 hands 3
Organ 3
Piano Accompaniment 3
Big Note Piano 2
Melody line, Piano 1
Piano Quartet: piano, violin, viola, cello 1

+ 8 instrumentations

- Retract

Guitars
Guitar 12
Guitar notes and tablatures 9
Melody line, (Lyrics) and Chords 7
Guitar (band part) 6
Ukulele 3

Bass guitar 2
2 Guitars (duet) 1
4 Guitars (Quartet) 1

+ 3 instrumentations

- Retract

Voice
Choral SATB 34
Choral 3-part 31
Choral TTBB 14
Choral SSAA 12
Choral 2-part 10

Tenor voice, Piano 5
Soprano voice, Piano 2
Soli, Mixted choir and accompaniment 1
Alto voice, Piano 1
Choral Unison 1
High voice 1
Choral SSATTB 1

+ 7 instrumentations

- Retract

Woodwind
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 122
Saxophone Quintet: 5 Saxophones 103
Flute, Oboe, Clarinet, Bassoon 101
Saxophone Quartet: 4 saxophones 95
Saxophone (band part) 74

2 Saxophones (duet) 54
Oboe, Piano (duet) 53
Flute and Piano 52
Oboe (band part) 44
Clarinet and Piano 43
Flute 42
Clarinet 38
Alto Saxophone 30
Alto Saxophone and Piano 29
Soprano Saxophone and Piano 25
2 Clarinets (duet) 23
2 Flutes (duet) 21
Baritone Saxophone, Piano 20
2 Oboes (duet) 18
Tenor Saxophone and Piano 18
Oboe 15
3 Saxophones (trio) 12
Clarinet Quintet: 5 clarinets 11
Tenor Saxophone 10
Soprano Saxophone 10
Baritone Saxophone 10
Flute, Clarinet, Horn and Bassoon (Quartet) 8
Clarinet (band part) 8
Clarinet Quartet: 4 clarinets 8
Flute, Oboe, Clarinet (trio) 8
Flute, Bassoon, and Piano 6
Oboe, Clarinet (duet) 6
3 Clarinets (trio) 5
Recorder 5
Clarinet, Bassoon (duet) 5
Oboe, Clarinet, Bassoon (trio) 4
Flute, Violin, Piano 4
Flute, Clarinet (duet) 4
Flute Trio: 3 flutes 4
Oboe, Bassoon (duet) 4
Flute Quintet : 5 flutes 3
Clarinet, Cello (duet) 3
Flute, Violoncello 3
Saxophone ensemble 3
Flute, Violin 3
Oboe and viola (duet) 2
Clarinet, Violin (duet) 2
Flute and Guitar 2
Clarinet, Harp (duet) 2
Flute, Viola (duet) 2
Clarinet and Viola 2
Flute (band part) 2
Flute Quartet: 4 flutes 2
Oboe, Cello 2
Flute, Clarinet and Bassoon. 2
5 Recorders 1
Oboe, Violin (duet) 1
Flute, Oboe, Bassoon 1
Tenor Recorder 1
Saxophone, Clarinet (duet) 1
Recorder Quartet 1
Clarinet Ensemble 1
English horn, Piano 1
Flute and Strings Trio 1
2 Recorders (duet) 1
2 Flutes, Piano 1
2 Clarinets, Piano 1
Flute, Oboe (duet) 1
Recorder Ensemble 1
2 Oboes, Piano 1

+ 65 instrumentations

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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 113
Brass Quartet 67
Trumpet, Piano 42
Trumpet 42
French horn 38

Trombone and Piano 37
Trombone 35
Tuba 34
French Horn and Piano 33
Brass Quartet: 2 trumpets, horn, trombone 32
Tuba and Piano 32
2 Trombones (duet) 18
2 French horns (duet) 18
2 Trumpets (duet) 18
Trombone (band part) 16
Trumpet (band part) 14
Brass quartet : 2 trumpets, trombone, tuba 10
French horn (band part) 8
Trumpet, Trombone (duet) 6
2 Tubas (duet) 6
Euphonium, Piano (duet) 4
Brass Quartet: 4 trombones 4
Brass Quartet: 4 horns 3
Tuba (band part) 2
2 French horns, Piano 1
Trumpet, Saxophone (duet) 1
Horn Ensemble 1
Trumpet, Bassoon (duet) 1
4 Tubas 1
Trumpet, Horn (duert) 1
English horn, Piano 1

+ 26 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 130
String Quintet: 2 violins, viola, cello, bass 95
Viola, Piano 53
Violin and Piano 49
Cello (band part) 48

Cello, Piano 47
Violin 42
Viola 34
2 Cellos (duet) 23
2 Violins (duet) 21
Violin, Cello (duet) 21
2 Violas (duet) 19
Double bass, Piano (duet) 18
Cello 16
Viola (band part) 15
Double Bass 14
Violin, Viola (duet) 13
String Trio: 2 violins, cello 9
String Trio: violin, viola, cello 8
Harp 7
Violin (band part) 5
2 Double basses (duet) 4
Piano Trio: Violin, Viola, Piano 4
String Trio: 3 violins 4
String Trio: 2 violins, viola 3
Viola, Cello (duet) 3
Violin, Bassoon (duet) 3
Doublebass (band part) 3
Harp, Violin (duet) 2
Harp, Flute (duet) 2
Harp, Cello (duet) 2
String Trio: 3 violas 2
4 Cellos 2
2 Violas, Piano 2
String Trio: 3 cellos 2
String quartet: 4 violins 2
Violin, Clarinet, Piano (trio) 2
String Quintet: 2 violins, viola, 2 cellos 2
String Quartet : 4 violas 2
Viola and Bassoon 1
Harp, Violin, Violoncello 1
Cello, String Bass (duet) 1
String Quintet: 2 violins, 2 violas, cello 1

+ 38 instrumentations

- Retract

Percussion & orchestra
Concert band 57
Orchestra 18
String Orchestra 12
Jazz Ensemble 11
Percussion (band part) 6

Handbells 5
Brass ensemble 3
Chamber Orchestra 3

Marimba 2
Vibraphone 1
Marching band 1
Jazz combo 1
Drum (band part) 1

+ 8 instrumentations

- Retract

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• Magic Numbers [The]

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It's Magic

Chamber Orchestra

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3 sheet music found

If It's Magic

If It's Magic #Chamber Orchestra #Stevie Wonder #Kevin Riley #If It's Magic #Kevin Riley #SheetMusicPlus

Chamber Orchestra - Digital Download SKU: A0.505210 Composed by Stevie Wonder. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 15 pages. Publ...(+)

Chamber Orchestra - Digital Download SKU: A0.505210 Composed by Stevie Wonder. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 15 pages. Published by Kevin Riley (A0.505210). A beautiful song by Stevie Wonder here arranged for Alto Saxophone, Strings, Flute and Oboe.

$50.00 ≈ 46.79€

Requiem

Requiem #Chamber Orchestra #Harald Weiss #Requiem #Schott Music - Digital #SheetMusicPlus

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

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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 ≈ 52.40€

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

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

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

Chamber Orchestra - Digital Download 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 ≈ 50.53€