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Level 3 - Digital Download SKU: A0.1263056 By Dr. Sheri Masiakowski. By Sr. Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th Century,Classical,Sacred. Full Performance. Duration 705. School Sisters of St. Francis #856051. Published by School Sisters of St. Francis (A0.1263056). First published in 1958, this organ suite has four movements based on Gregorian Chants. The first three movements are derived from the introit, offertory and communion of the Feast of the Immaculate Conception— December 8th. The final movement is based on the Kyrie and the Dismissal from the Mass for Feasts of the Blessed Virgin (Beata Virgine) Missa Cum Jubilo. All are found in the Liber Usualis. An image of each chant precedes its corresponding movement in this score. The compositional style is tonal. It is representative of Sr. Theophane's earlier work though the Communion may have been written later than the other movements. Performance by Dr. Sheri Masiakowski at Marquette University's Church of the Gesu in Milwaukee, Wisconsin.  The organ is Schantz IV/115R.
Suite in Honor of Mary Immaculate
Dr Sheri Masiakowski
$1.99 1.86 € PDF SheetMusicPlus

Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1263038 Composed by Sr. Mary Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th Century,Classical,Religious,Sacred. Individual part. 18 pages. School Sisters of St. Francis #856033. Published by School Sisters of St. Francis (A0.1263038). First published in 1958, this organ suite has four movements based on Gregorian Chants. The first three movements are derived from the introit, offertory and communion of the Feast of the Immaculate Conception— December 8th. The final movement is based on the Kyrie and the Dismissal from the Mass for Feasts of the Blessed Virgin (Beata Virgine) Missa Cum Jubilo. All are found in the Liber Usualis. An image of each chant precedes its corresponding movement in this score. The compositional style is tonal. It is representative of Sr. Theophane's earlier work though the Communion may have been written later than the other movements. Medium difficulty.
Suite in Honor of Mary Immaculate
Orgue

$14.99 14.02 € Orgue PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3024985. Published by Musik Fabrik Music Publishing (A0.533574). Quintet for Bassoon and Strings (2005–08) was commissioned by The Commission Projectand is dedicated to Klaus Heymann, in tribute for his invigoration of the classical recordingindustry and his enthusiastic support for the composers of our time.The original conception for the work was devised during an extremely foggy week onNantucket Island, Massachusetts in the summer of 2005. It is music deeply connected to theocean landscape. Throughout the work, the strings often present a fog-like backdrop,through which the bassoon’s color emerges like a lighthouse beacon—lyrical and flexible.The work opens with a series of interlocking, nebulous figurations in the strings thatgradually build in intensity. The bassoon unfolds the work’s basic melodic material in a freesolo that also increases in intensity. At the point of climax, the tempo suddenly slowsdramatically, and a tender, lyrical cantilena emerges. As this music dissolves, a bouncy andenergetic music takes the foreground. It climaxes in a bassoon cadenza. Though the bassoonhas played the leader throughout, this is the first time it is heard unaccompanied. A brief,but vigorous afterglow recalls the opening of the work. The final section emerges out of it: aseries of high, distant harmonics (perhaps harbor buoys) in the strings through which thebassoon sings a final song.
Carson Cooman: Quintet for Bassoon and Strings (2005–08) for bassoon and string quartet
Orchestre de chambre

$25.95 24.27 € Orchestre de chambre PDF SheetMusicPlus

Concert Band - Digital Download SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published by Ayotte Custom Musical Engravings (A0.733009). A promise to stand by... this phrase indicate loyalty, steadfastness, being a man of one's word, knowing that integrity and honor are the enduring qualities by which we will be judged; not fame, fortune, influence, or other worldly measures. It is no surprise, therefore, that this phrase was incorporated by Lou Fortunate and Msgr Herman Kucyk, of blessed memory, into the alma mater of Divine Child High School. When I was approached by Mr. Bush and the Divine Child Band Boosters about the possibility of writing a piece to celebrate the fiftieth anniversary of the band program I was excited, flattered, and--most of all--humbled that I should be chosen out of many worthier candidates, in my estimation. Divine Child has had, for the longest time--since the beginning, it seems--a vibrant and thriving fine arts program involving music (both vocal and instrumental), theatre, and the visual arts as well as literature and poetry. I began to conceive of a work that would pay homage to each of these arts musically and be a celebration of all that Divine Child has to offer. One of my favourite composers, Gustav Mahler, famously said, a symphony must be like the world; it must contain everything. In the 1988 vice-presidential debate, Lloyd Bentsen famously said to Dan Quayle, Senator, you're no Jack Kennedy. A voice in my head said, Benjamin, you're no Gus Mahler. As the discarded drafts in the recycle bin took on a life of their own, I eventually dismissed the idea as impractical, and even vainglorious. I settled upon a more general idea to make the music about the band program. Most every student in the band program goes through the rigors of marching band and performs at the Falcon football games where they become intimate with the Three School Songs: the Falcon Fanfare, the Fight Song, and the Alma Mater. Taking the latter piece as my inspiration, I meditated upon the mission of the school: a promise to educate us in body, mind, and spirit. Divine Child High School stands by her promise, recruiting some of the best teachers in the area to guide us through the tumultuous adolescent years. We students, too, have a promise: to strive to be worthy of this gift, and to accept it and use it for the betterment of society. In band class, under Leo Tallieu, I learned to listen; to contribute to the group; to consider my part in relation to the whole ensemble; to show leadership when needed; and to be a role player when needed. And so, my conception of the piece changed. I wanted to use melodic, harmonic, and rhythmic devices that would be familiar to all DCHS band students, but to use them in a new and different way; to recontextualize them. As time went on, Bob Bush asked me if I would be able to work in a tribute to two band students who had tragically died in the last few years: Blaise H.
A Promise to Stand By:
Orchestre d'harmonie

$19.99 18.69 € Orchestre d'harmonie PDF SheetMusicPlus

Small Ensemble Cello,Clarinet,Flute,Piano Accompaniment,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.533618 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 36 pages. Musik Fabrik Music Publishing #3031747. Published by Musik Fabrik Music Publishing (A0.533618). Dark December: Ignis Dei (2002) was commissioned by Maurice and Amy Katz and was written forand is dedicated to Non Sequitur. It is scored for flute, clarinet, violin, cello, vibraphone, and piano, andis subtitled “processional doubles for mixed sextet.” (The word “doubles” is used in the old sense of“variations.”)The source material for the composition is the composer's original hymn tune DOLMEN CREEK(2002), whose text by Margaret Clarkson (Burn in Me, Fire of God) provides the Ignis Dei of thetitle and poetic conception. The poetic conception is one of an emergence of a single inner flame, amida dark landscape.The tune is never heard in its full or straightforward form – instead it is always heard in fragment ortransformation. Its formal structure also provides the dimensions and structures of the four sections.Formally, the work is cast in a single movement as a series of three processionals plus a finalglorification-postlude. The conception of the work is ritualistic in tone, and pushes forward towardsthe end.The opening processional (for the entire sextet) is very slow and distant and sets out transformations ofthe hymn tune in its most abstruse form. The second processional (for violin, cello, and vibraphone) isslightly faster and features an active and independent vibraphone part over a cortege in the two strings.The third processional (for flute, clarinet, and piano) is quick and nimble as gestures and material arepassed between the two winds, and the piano provides commentary and allusions. In this processional, afragment of the hymn is heard in its most clear form. The final glorification-postlude brings the entireensemble together again in a vibrant coda of busy activity.Carson
Carson Cooman: Dark December: Ignis Dei: processional doubles for mixed sextet (2002) for flute, Bb

$24.95 23.33 € PDF SheetMusicPlus

Tenor voice or soprano voice solo, SATB choir, organ - Medium - Digital Download SKU: MQ.6414-E Composed by Leo Nestor. Christmas, Christmas-Sacred. Score & instrument parts. 13 pages. E. C. Schirmer Music Company - Digital #6414-E. Published by E. C. Schirmer Music Company - Digital (MQ.6414-E). Sing Lullaby was commissioned by music director Michael Batcho for the Choir of the Cathedral of St. John the Evangelist, Milwaukee and composed in California during the summer of 2000. Originally scored for tenor solo, mixed chorus, oboe, French horn and violoncello obbligato and organ, an independent fabric for string orchestra was composed for a performance by the Choir of the Basilica of the National Shrine of the Immaculate Conception on Christmas of the same year. The setting was further developed for the debut performance of The Catholic University of America Chamber Choir and Chamber Players at the Pope John Paul II Cultural Center in December of 2002. In the 2008 revision, the composer decided that the obbligato trio of clarinet, French horn and bassoon most clearly evoked the ethos of shepherds, offering optimal timbral contrast to string orchestra and chorus. Substantial emendations of the entire score were made for the present edition of Sing Lullaby, first performed by The Catholic University of America Chamber Choir, University Singers, University Chorus and Symphony Orchestra at the Annual Christmas Concert for Charity at Washington's Basilica of the National Shrine of the Immaculate Conception on 7 December 2012 with tenor Rick Christman, the composer conducting.Variation form, long favored by composers in settings of strophic music, imparts a perception of improvisation as singers and players alter harmonies, melody and rhythm to forward the unfolding narrative. Sensitive performance will caress the natural undulation of the largely ternary meter, tapering unstressed beats at the ends of phrases while maintaining the steady flow of the accompaniment.Two editions of the work are published: (I) for mixed chorus, solo, obbligato trio and organ and (II) for mixed chorus, solo, obbligato trio, string orchestra, harp and organ. The edition for chorus and obbligato instruments adds timbral variety to a Christmas concert while employing modest instrumental means which are easily available. Although in Version II both harp and organ are scored ad libitum, the harp adds significantly to the counterpoint of the obbligato instruments, providing further rhythmic impetus and textural variety. Conceived for lyric tenor, the solo may also be sung by soprano.
Sing Lullaby (Downloadable Organ/Choral Score)

$2.65 2.48 € PDF SheetMusicPlus

Woodwind Ensemble,Woodwind Trio Flute - Level 5 - Digital Download SKU: A0.533636 Composed by Carson Cooman. Concert,Contemporary,Standards. 4 pages. Musik Fabrik Music Publishing #3034041. Published by Musik Fabrik Music Publishing (A0.533636). Distant Glittering Orbs (2003) for solo alto flute was commissioned by Frederick Butler andwas written for and dedicated to flutist Laurel Ann Maurer whose brilliant playing was fullyin mind during the composition.The title of the work provides the poetic image behind its conception -- imagining interstellarobjects (suns, stars, planets) existing just outside of our field of clear vision. It is an intimatepiece, yet exploring a conception of the far reaching beyond -- making use of the alto flute'sdistinct timbre.The opening section of the work is slow and flexible -- with a series of expanding and freerangingchromatic gestures, exploring and augmenting sets of notes. A faster section occursnext -- marked glittering spirals -- consisting of sweeping gestures. A return to the originalmood follows, and a simpler lyric melody emerges in a straightforward fashion (coming outof all the earlier chromatic excursions.) Finally, a few spirals from the faster music interjectbefore an intimate and reposed coda concludes the piece.
Carson Cooman: Distant Glittering Orbs (2003) for solo alto flute
Trio de Flűtes: 3 flűtes

$9.10 8.51 € Trio de Flűtes: 3 flűtes PDF SheetMusicPlus

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.597213 Composed by Unknown. Arranged by Flávio Régis Cunha. A Cappella,Christian,Christmas,Gospel,Sacred,Spiritual. Octavo. 12 pages. Flavio Regis Cunha #4580341. Published by Flavio Regis Cunha (A0.597213). This arrangement of Go tell it on the Mountain is unique in its conception. It has a beautiful conduction of voices, counterpoints and harmonies quite interesting. For each stanza there is a contrasting differentiation and ends in a surprising ending. The arrangement is challenging, but at the same time, legal to rehearse and interpret. It is possible for an intermediary group to sing it.Flavio Regis Cunha is a pianist, conductor and composer from São Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunha
Spiritual: Go tell it on the Mountain for SATB a cappella (with piano for Rehearsal)
Chorale SATB

$1.99 1.86 € Chorale SATB PDF SheetMusicPlus

Percussion Ensemble - Level 3 - Digital Download SKU: A0.597220 Composed by Charles Francois Gounod. Arranged by Flávio RĂ©gis Cunha. Concert,Contemporary,Romantic Period,Sacred,Standards. Score and parts. 43 pages. Flavio Regis Cunha #4592917. Published by Flavio Regis Cunha (A0.597220). Mors et vita is an oratorio in three parts by Charles Gounod premiered at the Birmingham Festival in 1885. It was conceived as a sequel to La rĂ©demption (1882). The 1886 Paris premiere again featured Jean Baptiste Faure. Gounod considered this oratorio, and its predecessor La rĂ©demption (1882) as his greatest achievements. This arrangement is designed for a double string orchestra, harp and percussion. The sonority obtained from this arrangement is unique in its conception and can be very well received by the public. Lacking original woodwinds and brasses from Gounod's score, the string orchestra will be an excellent choice for performing in concerts, recitals, funerals and church preludes.Flavio Regis Cunha is a pianist, conductor and composer from SĂŁo Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunha
Judex (From Mors et Vita)
Ensemble de Percussions

$40.00 37.4 € Ensemble de Percussions PDF SheetMusicPlus

Cello,Piano - Level 5 - Digital Download SKU: A0.533690 Composed by Carson Cooman. 20th Century,Concert,Contemporary,Standards. Score and part. 25 pages. Musik Fabrik Music Publishing #3038631. Published by Musik Fabrik Music Publishing (A0.533690). Paradoxes: Sonata for Cello and Piano (1998) was written as a commission frommusicologist and cellist Larry KludgeThe conception and inspiration of this sonata had the idea of paradoxes behind it. Ouruniverse is certainly full of these paradoxes, and they range from the most practical in natureto the most highly philosophical in nature. Each of the movements in this work isparadoxical in a variety of musical ways. The movement titles present the foundation ideasfor each movement, stillness, brevity, and movement; however, those serve as only thebeginning for the paradoxes in the work. The first movement, Paradox of Stillness, openswith a statement of the main melodic theme for the work. The melody and pitches of thattheme are used in a variety of ways throughout. The second section serves as a contrast to theopening after which the opening section is recalled again for the close. The brief secondmovement, Paradox of Brevity, is a very fast moving movement for the cello and the piano.Driving rhythms and odd harmonic twists pervade the movement. The final movement,Paradox of Movement, opens with and sustains a moto perpetuo dance for almost the entiremovement with a break in the middle for a brief cadenza for the solo cello. A brief codabrings the movement to a close
Carson Cooman: Paradoxes: Sonata for Cello and Piano (1998)
Violoncelle, Piano

$19.95 18.66 € Violoncelle, Piano PDF SheetMusicPlus

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1488223 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 64 pages. Artaria Editions #1065109. Published by Artaria Editions (A0.1488223). Ferdinand Ries (1784-1838) was one of the greatest pianists of his time and a composer of exceptional abilities. Ries studied pianoforte (but not composition) with Beethoven in Vienna and the two men remained on cordial terms for the rest of their lives. In the last year of his life Ries co-wrote a book of Beethoven reminiscences that remain one of the most valuable sources of information about his life and character. The place and date of composition of the Sonate Sentimentale is uncertain in spite of the apparently conclusive evidence to the contrary: Ries's autograph score is dated 'Godesberg 1814' but by this time Ries was living in London. The discrepancy is probably due to the fact that Ries added the date to this manuscript, as he did to many others, in the 1820s. One of the most intriguing aspects of this work is the difference between Ries's original conception and the work as it appeared in its first published edition in 1834. The extent of the changes points to a substantial authorial revision of the work made prior to publication rather than a garbled transmission of the original text. Among the most striking of these changes is the inclusion of a brief introduction to the first movement; but other passages are extensively rewritten and in some instances lengthened by the inclusion of additional material. As with all Ries's works for flute, the Sonate Sentimentale is exceptionally well written for the instrument and yet perhaps even more impressive is the way in which Ries balances the musical texture and exploits the full potential of both the flute and piano. The beautiful work is arguably the most impressive flute sonata of the early 19th century. Allan Badley.
Piano Trio in B flat major, Op. 28
Piano Trio: piano, violon, violoncelle

$37.00 34.6 € Piano Trio: piano, violon, violoncelle PDF SheetMusicPlus

Instrumental Duet Instrumental Duet,Viola,Violin - Level 4 - Digital Download SKU: A0.1021623 Composed by Tyler J. Holt. Contemporary. Score and parts. 3 pages. TJHoltMusic #6137183. Published by TJHoltMusic (A0.1021623). Miniature, Op. 16 is composed for Violin and Viola. I entered this piece into a Miniature contest on Composersite but never had further contact with the proctors aside from the fact that they received the piece. I continued with the piece regardless to not only write exclusively for the stringed instruments, a feat I have not done previously at that point, but also experiment with as many textures as I could in the allotted time. I wrote this piece in binary form so that I could finish it quickly and enter it into the contest the same day. From conception to completion and submission, this piece was finished in 1 hour.Composed by Tyler J. HoltPublished by TJHoltMusicCopyright © Tyler J. Holt, Composer
Miniature, Op. 16
Violon, Alto (duo)

$10.00 9.35 € Violon, Alto (duo) PDF SheetMusicPlus






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