Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
648
Digital
Sheet Music
4,854
Sheet Music
Books
4,801
Music
Equipment
1,102
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
585
PIANO & KEYBOARDS
Piano solo
553
Organ
430
Easy Piano
220
Piano, Voice
189
Piano, Vocal and Guitar
186
Big Note Piano
16
C Instruments
15
1 Piano, 4 hands
7
Piano Quartet: piano, violin, viola, cello
6
Harpsichord
5
Organ, Piano (duet)
4
Keyboard
4
Accordion
2
Piano Trio: piano, violin, cello
2
Piano (band part)
2
Organ and Orchestra
1
Piano Quartet: piano, 2 violins, cello
1
Piano Quintet: piano, 2 violins, viola, cello
1
Piano Accompaniment
1
Instrumentations suivantes
Retracter
GUITARS
Melody line, (Lyrics) and Chords
239
Guitar notes and tablatures
94
Guitar
39
Lyrics and Chords
29
Bass guitar
7
Electric Bass (band part)
6
Ukulele
6
Guitar (band part)
5
2 Guitars (duet)
5
Dulcimer
3
Guitar Ensemble
2
Mandolin, Piano (duet)
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
134
Choral TTBB
18
Choral 3-part
15
Choral 2-part
14
Choral SSAA
13
Choral
13
Voice solo
4
Soprano voice, Piano
3
Mezzo-Soprano voice, Piano
3
Choral Unison
3
Choral SSATB
2
Baritone voice, Piano
2
Low voice, Piano
2
Choral SATTB
1
Soli, Mixted choir and accompaniment
1
Vocal duet
1
Choral SATBB
1
High voice
1
Alto voice, Piano
1
Tenor voice, Piano
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone (band part)
59
Tenor Saxophone
25
Saxophone Quartet: 4 saxophones
24
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
24
Alto Saxophone
23
Clarinet
23
Flute and Piano
20
Flute
18
Clarinet and Piano
17
Clarinet (band part)
16
Flute, Oboe, Clarinet, Bassoon
14
Clarinet Quartet: 4 clarinets
12
2 Saxophones (duet)
11
Oboe, Piano (duet)
10
Alto Saxophone and Piano
10
Oboe (band part)
9
Eb Instruments
8
Flute (band part)
8
2 Recorders (duet)
6
2 Clarinets (duet)
6
2 Flutes (duet)
6
Soprano Saxophone and Piano
5
Saxophone ensemble
5
Saxophone, Clarinet (duet)
4
Flute, harp and violin
4
Baritone Saxophone, Piano
4
Flute Trio: 3 flutes
4
Saxophone
4
Tenor Saxophone and Piano
4
Oboe, Bassoon (duet)
3
3 Clarinets (trio)
3
Saxophone Quintet: 5 Saxophones
2
Flute Quartet: 4 flutes
2
Flute, Clarinet (duet)
2
2 Oboes (duet)
2
Bass Clarinet, Piano
2
Flute, Violin
2
Recorder
2
Clarinet, Violin (duet)
2
Oboe
1
Oboe, Clarinet (duet)
1
Flute, Trumpet (duet)
1
Clarinet, Cello, Piano (trio)
1
Flute, Viola (duet)
1
Descant (Soprano) Recorder
1
Clarinet, Trumpet (duet)
1
Clarinet, Bassoon, Piano (trio)
1
Clarinet and Viola
1
Oboe, Flute
1
English horn, Piano
1
Flute, Saxophone (duet)
1
Clarinet Ensemble
1
Treble (Alto) Recorder
1
Recorder Quartet
1
Flute ensemble
1
Instrumentations suivantes
Retracter
WOODBRASS
2 Euphoniums and 2 Tubas
176
4 Tubas
66
Brass quartet : 2 trumpets, trombone, tuba
63
Brass Quintet: 2 trumpets, horn, trombone, tuba
49
Trumpet (band part)
27
Trombone (band part)
26
Trumpet
25
French Horn and Piano
18
French horn (band part)
13
Trombone
13
Bass Clef Instruments
13
French horn
12
Trombone, Tuba (duet)
7
Tuba and Piano
7
Tuba (band part)
7
Trombone and Piano
7
Brass Quartet
7
Bb Instruments
6
Brass Quartet: 4 horns
5
2 French horns (duet)
4
Brass Trio
3
Trumpet, Piano
3
2 Trumpets (duet)
3
2 Trombones (duet)
3
Euphonium, Piano (duet)
2
Trumpet, Saxophone (duet)
2
Tuba
2
3 French horns (trio)
1
Trumpet, Trombone (duet)
1
Euphonium
1
Flügelhorn
1
Brass Quartet: 2 trumpets, horn, trombone
1
2 Tubas (duet)
1
Tuba ensemble
1
English horn, Piano
1
2 Euphoniums (duet)
1
3 Trumpets (trio)
1
Brass Quartet: 4 trombones
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
171
Violin
40
Violin and Piano
26
Cello, Piano
21
Violin, Cello (duet)
18
Harp
17
Viola
16
Viola, Piano
14
Cello (band part)
13
Cello
10
String Trio: violin, viola, cello
9
Violin (band part)
9
Doublebass (band part)
5
Violin, Viola (duet)
4
Viola (band part)
4
String Quintet: 2 violins, viola, cello, bass
3
2 Cellos (duet)
3
Double Bass
2
2 Violas (duet)
2
2 Violins (duet)
2
Piano Trio: Violin, Viola, Piano
1
Harp, Flute (duet)
1
String Quintet: 2 violins, viola, 2 cellos
1
2 Double basses (duet)
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
158
Brass ensemble
80
Marching band
52
String Orchestra
42
Jazz Ensemble
35
Orchestra
31
Vibraphone
25
Drum (band part)
22
Drums
17
Marimba
14
Chamber Orchestra
13
Jazz combo
11
Percussion (band part)
11
Handbells
6
Xylophone
2
Percussion Ensemble
2
Piano and Orchestra
1
Orchestra, Violin
1
Timpani (band part)
1
Vibraphone (band part)
1
Big band
1
Instrumentations suivantes
Retracter
OTHERS
Stationery
15
You've selected:
Olt Music
Sheetmusic to print
4,854 sheet music found
<
1
26
51
....
4851
O Mille Volte for 2 antiphonal tuba quartets
Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.759022 Composed …
(+)
Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.759022 Composed by Luca Marenzio. Arranged by Tim Olt. Renaissance. Score and parts. 15 pages. Olt Music #3517391. Published by Olt Music (A0.759022). A rather obscure but tasteful antiphonal work arranged for 2 tuba quartets. Everyone gets a workout.
$10.00
9.23 €
#
Luca Marenzio
#
Everyone gets a workout
#
O Mille Volte for 2 antiphonal tuba quartets
#
Olt Music
#
SheetMusicPlus
The Sound Of Music
Brass ensemble
Brass Ensemble - Level 4 - Digital Download SKU: A0.759294 Composed by Richard Rodg…
(+)
Brass Ensemble - Level 4 - Digital Download SKU: A0.759294 Composed by Richard Rodgers. Arranged by Tim Olt. Contemporary. Score and parts. 86 pages. Olt Music #6056063. Published by Olt Music (A0.759294). This musical is one of the most enduring, and the music is universally known.
$30.00
27.68 €
#
Brass ensemble
#
Richard Rodgers
#
The Sound Of Music
#
Olt Music
#
SheetMusicPlus
Contemporary Anthology of Solo Guitar Music
Guitar
Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the…
(+)
Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the Right Hand. Composed by Charles Postlewate. Contemporary. Classic. E-book. 158 pages. Mel Bay Publications - Digital Sheet Music #21290EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.
$22.99
21.21 €
#
Guitar
#
Charles Postlewate
#
Contemporary Anthology of Solo Guitar Music
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.13 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Flausino Vale: 28 preludes for solo violin (28 prelúdios para violino só): complete scores edited by Dr Zoltan Paulinyi in English and Portuguese (partituras editadas integralmente, em inglês e português).
Violin and Piano
Composed by Flausino Vale (and Zoltan Paulinyi). 20th Century, Romantic Period, Meth…
(+)
Composed by Flausino Vale (and Zoltan Paulinyi). 20th Century, Romantic Period, Method, South American, Recital. Set of Parts, Solo Part. 80 pages. Published by Zoltan Paulinyi
Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), known as the "Brazilian Paganini" by Villa-Lobos, wrote a set of characteristic and concertante preludes for solo violin. These short pieces show the Brazilian musical landscape and explore important violin techniques rarely shown on a basic level. This book presents a bigger set of scores including missing pieces in previous catalogues and alternate versions for 3 preludes, which the composer intended to publish. There is a suggestion for studying the preludes in a progressive order. This edition aims to print original bowings, fingerings and instructions which retain precious teachings of this remarkable teacher. Editor’s suggestions and explanations are written in Portuguese and English. As a homage to Flausino Vale, there are two Flausinian preludes composed by Dr Zoltan Paulinyi for violin, along with their transcriptions for viola.<br> <br> =====<br> <br> Em Português. Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), chamado de "Paganini Brasileiro" por Villa-Lobos, escreveu um conjunto de prelúdios característicos e concertantes para violino só, valiosos pela exuberância do estilo musical brasileiro e pela exploração de importantes técnicas violinísticas raramente encontradas no ensino fundamental.Esta edição reúne um conjunto ampliado de partituras com obras ausentes em catalogações anteriores e versões alternativas para 3 prelúdios, que o próprio compositor desejava publicar. Este livro traz uma sugestão de ordem progressiva aos estudos desta coleção. Preservam-se arcadas, dedilhados e instruções originais visando guardar preciosos ensinamentos deste notável professor. Consolidações e sugestões do editor estão anotadas em português e inglês.Como homenagem a Flausino Vale, adicionam-se dois prelúdios flausinianos de Dr. Zoltan Paulinyi para violino, com respectivas transcrições para viola.
$15.00
13.84 €
#
Violin and Piano
#
Flausino Vale (and Zoltan Paulinyi)
#
Flausino Vale: 28 preludes for solo violin
#
Zoltan Paulinyi
#
SheetMusicPlus
Coltrane Changes
Guitar - Intermediate-Advanced - Digital Download SKU: M0.20407MEB Applications …
(+)
Guitar - Intermediate-Advanced - Digital Download SKU: M0.20407MEB Applications of Advanced Jazz Harmony for Guitar. Composed by Corey Christiansen. Improvising, Lines & Phrases. Mel Bay's Private Lessons. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #20407MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.20407MEB). ISBN 9781619116429. 8.75x11.75 inches.John Coltrane's recording Giant Steps introduced a system of chord progressions and chord substitutions that has challenged even the best jazz musicians. The tri-tonic systems (sometimes referred to as Coltrane Changes) found in the tunes Giant Steps and Countdown is taught in a digestible way thoughout this method. Etudes show how to reharmonize standard ii-V-I changes with Coltrane Changes. The play-along audio will help students practice and master single-note lines over these chords in all 12 keys. Guitarists will appreciate the chord voicing suggestions. A must have for the serious jazz guitarist. Includes access to online audio.
$14.99
13.83 €
#
Corey Christiansen
#
Coltrane Changes
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Minuet from Music for the Royal Fireworks
Brass ensemble
Brass Ensemble - Level 2 - Digital Download SKU: A0.1285573 Composed by George Frid…
(+)
Brass Ensemble - Level 2 - Digital Download SKU: A0.1285573 Composed by George Frideric Handel. Arranged by Mark Armstrong. Baroque. Score and Parts. 14 pages. Seolta Music Limited #876678. Published by Seolta Music Limited (A0.1285573). Minuet from Music for the Royal Fireworks arranged for nine-piece brass ensemble with optional timpani.To browse all brass ensemble titles from Seolta Publishing click here.
$30.00
27.68 €
#
Brass ensemble
#
George Frideric Handel
#
Minuet from Music for the Royal Fireworks
#
Seolta Music Limited
#
SheetMusicPlus
'Air' from Water Music
Flute, Oboe, Clarinet, Bassoon
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A…
(+)
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1285571 Composed by George Frideric Handel. Arranged by Mark Armstrong. Baroque. Score and Parts. 14 pages. Seolta Music Limited #876676. Published by Seolta Music Limited (A0.1285571). The 'Air' from Handel's Water Music in an arrangement for nine-piece brass ensemble and optional timpani (Tpt x 2, Hn x 2, Trb x 3, Euph x 1, Tuba x 1, Timpani (optional).To browse all brass ensemble titles from Seolta Publishing click here.
$30.00
27.68 €
#
Flute, Oboe, Clarinet, Bassoon
#
George Frideric Handel
#
'Air' from Water Music
#
Seolta Music Limited
#
SheetMusicPlus
Minuet from Music for the Royal Fireworks for Brass Quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Level 2 - Digital Download SKU: A0.1285578 Composed by George Frideric Handel. Arra…
(+)
Level 2 - Digital Download SKU: A0.1285578 Composed by George Frideric Handel. Arranged by Mark Armstrong. Baroque. 9 pages. Seolta Music Limited #876683. Published by Seolta Music Limited (A0.1285578). Minuet from G. F. Handel's Music for the Royal Fireworks arranged for Brass Quintet and optional timpani.To browse all brass ensemble titles from Seolta Publishing click here.
$30.00
27.68 €
#
Brass Quintet: 2 trumpets, horn, trombone, tuba
#
George Frideric Handel
#
Minuet from Music for the Royal Fireworks for Brass Quintet
#
Seolta Music Limited
#
SheetMusicPlus
Nuts & Bolts
Piano solo
Piano solo - early intermediate - Digital Download SKU: F0.W9059 Composed by Wynn-A…
(+)
Piano solo - early intermediate - Digital Download SKU: F0.W9059 Composed by Wynn-Anne Rossi. Sheet Music. Written For You. The spirit of the Olympic games is captured in this dramatic piece. Solo Sheet. 4 pages. The FJH Music Company - Digital #W9059. Published by The FJH Music Company - Digital (F0.W9059). UPC: 674398205561.This clever, mechanical-sounding solo is great fun to play. Based on a whole-tone scale, the piece is highly patterned, which makes learning and memorizing easy. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.50
2.31 €
#
Piano solo
#
Wynn-Anne Rossi
#
Nuts & Bolts
#
The FJH Music Company - Digital
#
SheetMusicPlus
Music for Two French Horns Volume 1 - Duets in a Jazzy & Classical Style - 45211
2 French horns (duet)
By Daniel Kelley. By Brad Warnaar, James Thatcher, Jeff Driskill, Paul Klintworth, S…
(+)
By Daniel Kelley. By Brad Warnaar, James Thatcher, Jeff Driskill, Paul Klintworth, Steve Holtman, and Daniel Kelley. Film/TV, Instructional, Jazz, Pop. Score. 42 pages. Last Resort Music Publishing #711136. Published by Last Resort Music Publishing
Volume 1 - Duets in a Jazzy & Classical Style - 45211 A terrific compilation of new works for two French Horns by Hollywood composers and arrangers. Table of Contents Nonnahs the Goddess (Driskill, Jeff - ASCAP) Cuckoo Kinda Crazy (Holtman, Steve - BMI) Da Blues (Holtman, Steve - BMI) Funk Junk (Holtman, Steve - BMI) Jasss Waltsss (Holtman, Steve - BMI) Samba de Gecko (Holtman, Steve - BMI) Chasin' It (Kelley, Daniel - ASCAP) Infatuation (Kelley, Daniel - ASCAP) Moving Parts (Kelley, Daniel - ASCAP) Wheat Field (Kelley, Daniel - ASCAP) Rented Tuxedo (Klintworth, Paul - ASCAP) Adagio (Thatcher, James - ASCAP) Scherzo (Thatcher, James - ASCAP) N-3-4-2 (Warnaar, Brad - ASCAP) The Subject Was Roses (Warnaar, Brad - ASCAP) Till, Meet Monk (Warnaar, Brad - ASCAP) Fanfare & Soliloquy (Kelley, Daniel - ASCAP) All available on SheetMusicPlus and www.lastresortmusic.com Published by Last Resort Music Publishing www.lastresortmusic.com.
$22.00
20.3 €
#
2 French horns (duet)
#
Daniel Kelley
#
Music for Two French Horns Volume 1 - Duets in a Jazzy & Classical Style - 45211
#
Last Resort Music Publishing
#
SheetMusicPlus
Allegretto Con Molto - Clarinet Solo
Clarinet
Clarinet and piano - Grade 2 - Digital Download SKU: B0.PDF-BAND-31 Composed by Jer…
(+)
Clarinet and piano - Grade 2 - Digital Download SKU: B0.PDF-BAND-31 Composed by Jerry Frazier. A compelling choice for Grade 2 level band students. Multicultural. Score and Part. 5 pages. PDF Band Music #PDF-BAND-31. Published by PDF Band Music (B0.PDF-BAND-31). 8.5 x 11 inches.Allegretto Con Molto is perfect for the emerging clarinetist. The piece is enjoyable to rehearse and a perfect selection for recitals.
$13.80
12.73 €
#
Clarinet
#
Jerry Frazier
#
Allegretto Con Molto - Clarinet Solo
#
PDF Band Music
#
SheetMusicPlus
On Holt Avenue
Oboe, Piano (duet)
Oboe & piano - Digital Download SKU: IZ.CMS145 Composed by Jenni Brandon. Score and…
(+)
Oboe & piano - Digital Download SKU: IZ.CMS145 Composed by Jenni Brandon. Score and Parts. 21 pages. Imagine Music - Digital #CMS145. Published by Imagine Music - Digital (IZ.CMS145). 9 x 12 in inches.Composer's NotesOn Holt Avenue for oboe and piano depicts daily life on the street where I used to live in Los Angeles, from the mockingbird that sang (screamed, really) at all hours of the day and night, to the view outside my window at the neighbor's lemon tree. The lemons, as they shimmered in the rain, inspired a haiku that is found at the beginning of this movement:The lemon tree waits-rain falls on outstretched branches-How the lemons shine!The description of the opening tempo for Morning Coffee of cheerful and caffeinated allows the oboe to stretch and wake up with a little help from coffee, while the movement Daisies sings of the beauty of my favorite flowers, the gerbera daisies often in a vase on my table. This work was first recorded and released on my CD Songs of California: Music for Winds and Piano. I. Morning CoffeeII. The Lemon TreeIII. That MockingbirdIV. Daisies.
$16.00
14.76 €
#
Oboe, Piano (duet)
#
Jenni Brandon
#
On Holt Avenue
#
Imagine Music - Digital
#
SheetMusicPlus
Johann Melchior Molter: Concerto No.3 for clarinet & piano
Clarinet and Piano
Instantly downloadable sheet music by Johann Melchior Molter for clarinet & piano of M…
(+)
Instantly downloadable sheet music by Johann Melchior Molter for clarinet & piano of MEDIUM skill level. / classical,concert
$7.75
7.15 €
#
Clarinet and Piano
#
Johann Melchior Molter
#
Virtualsheetmusic
La Révolte des Orgues
9 organs (8 positivorgans and 1 big organ) and percussion (3 player: 2 Crotales, 5 Wood Bl…
(+)
9 organs (8 positivorgans and 1 big organ) and percussion (3 player: 2 Crotales, 5 Wood Blocks, 5 Temple Blocks, 5 Toms, 4 gongs, Tam Tam) - difficult - Digital Download SKU: S9.Q6650 Revolt of the organs. Composed by Jean Guillou. This edition: set of parts. Downloadable, Set of parts. Op. 69. Duration 30 minutes. Schott Music - Digital #Q6650. Published by Schott Music - Digital (S9.Q6650). This work with its unusual instrumentation originates in Guillou's conceptual design of the organ for the new concert hall in Tenerife. The composition project came into being when he determined the specifications of this organ, its scales, the distribution of the organ pipes among eight cases and the arrangement around the audience as well as the design with eight additional manuals. In contrast to its original purpose, the world premiere of the work took place at the parish church of Landsberg near Munich on 12 May 2007.
$88.99
82.09 €
#
Jean Guillou
#
La Révolte des Orgues
#
Schott Music - Digital
#
SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento
Choral SATB
Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arr…
(+)
Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 23 pages. Guido Menestrina #481065. Published by Guido Menestrina (A0.828714). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://www.youtube.com/watch?v=vqOa9skJg5o.
$13.99
12.91 €
#
Choral SATB
#
Leonardo Leo
#
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento
#
Guido Menestrina
#
SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimento
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonard…
(+)
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 15 pages. Guido Menestrina #238145. Published by Guido Menestrina (A0.828703). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimentoEdit Published by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: http://youtu.be/q3iMskZjm1Y.
$17.99
16.6 €
#
Choral SATB
#
Leonardo Leo
#
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimento
#
Guido Menestrina
#
SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento (Quartetto)
Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download
(+)
Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.828718 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella. Score and parts. 22 pages. Guido Menestrina #516705. Published by Guido Menestrina (A0.828718). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://youtu.be/qjcFrb638VI or listen to it on soundcloud: https://soundcloud.com/guido-menestrina/leonardo-leo-dixit-dominus-4a-parte-quartetto Score includes: - full score - strings part - oboi par.
$12.99
11.98 €
#
Leonardo Leo
#
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento
#
Guido Menestrina
#
SheetMusicPlus
Thinking Händel for Baroque Horn Quartet
Brass Ensemble Horn - Level 2 - Digital Download SKU: A0.931276 Composed by Alessan…
(+)
Brass Ensemble Horn - Level 2 - Digital Download SKU: A0.931276 Composed by Alessandro Macrì. Baroque,Classical,Concert,Instructional,Standards. Score and parts. 10 pages. Music Macri Editions #6082045. Published by Music Macri Editions (A0.931276). Thinking Händel è un tributo al grande compositore Georg Friedrich Händel, coetaneo di Johann Sebastian Bach, che fu tra i più illustri rappresentanti del barocco musicale. Scrisse opere, oratori e musica strumentale, assimilando gli stili del Settecento che fuse in una sintesi personale e unitaria.I primi successiHändel nacque nel 1685 a Halle, in Germania, da una famiglia senza tradizioni musicali. Iniziò da bambino lo studio della musica, dimostrando subito un grande talento come compositore e organista. All'università di Halle intraprese anche studi giuridici. Nel 1703 si stabilì ad Amburgo, dove lavorò come violinista e dove ebbero luogo le prime esecuzioni di sue musiche, tra cui l'opera Almira, regina di Castiglia (1705).Negli anni successivi compì diversi viaggi in Italia, in Germania e a Londra, dove nel 1711 fu rappresentata con grande successo la sua opera Rinaldo. Nonostante sia oggi conosciuto soprattutto per gli oratori e la musica strumentale, ai suoi tempi Händel fu molto apprezzato per le opere teatrali, prevalentemente composte secondo il modello dell'opera seria italiana (forme musicali). Ambientata in epoca classica, di argomento letterario o di ambientazione mitologica, l'opera seria alterna, in lingua italiana, recitativi e arie. I recitativi, con un'intonazione vicina alla lingua parlata, servivano a far procedere l'azione ed erano accompagnati dal cembalo e a volte dall'orchestra. Le arie, con intonazione melodica, avevano la funzione di esprimere gli stati d'animo o 'affetti' dei personaggi e in esse i cantanti mostravano la propria virtuosistica bravura.Al tempo del soggiorno londinese risalgono anche due significative composizioni orchestrali: le tre suite Musica sull'acqua (1715-36), nate per accompagnare le feste sul Tamigi di re Giorgio I, e i Sei concerti grossi op. 3 (1730-34), ispirati al modello del musicista italiano Arcangelo Corelli.La cittadinanza ingleseNel 1719 Händel promosse la fondazione di una società musicale privata, la Royal academy of music, e ne diventò direttore. Nel 1727 ottenne la cittadinanza inglese e per molti anni dominò la scena musicale britannica. Oltre alle circa quaranta opere teatrali, tra cui Giulio Cesare in Egitto (1723), Rodelinda regina de' Longobardi (1725), Ariodante (1734), Alcina (1735), Serse (1737-38), in questi anni scrisse più di venti oratori ‒ composizioni di argomento religioso, per soli, coro e orchestra ‒ in forma drammatica e in lingua inglese (con narrazione, personaggi e dialogo ma senza scena teatrale), per lo più con testi tratti dall'Antico Testamento (tra cui Esther, 1718, Saul e Israele in Egitto, del 1738 entrambi).L'adesione di Händel alla cultura inglese non fu occasionale, ma profondamente sentita: lo dimostrano alcuni lavori vocali e strumentali, come Acis e Galatea (1718, con una seconda versione nel 1732) e l'Ode per il giorno di s. Cecilia (1739), composti su testi di poeti inglesi di grande rilievo come John Dryden e Alexander Pope.Tra la musica strumentale, Händel dedicò in particolare all'organo, di cui era valente esecutore, ben venti concerti con orchestra.Il Messia e le ultime composizioniL'oratorio Messia è uno dei lavori più conosciuti di Händel: eseguito a Dublino nel 1742, fu scritto per una istituzione benefica in soli ventiquattro giorni. Il libretto di Charles Jennens, in inglese, illustra in tre parti i momenti più rilevanti della vita di Cristo con brani delle Sacre Scritture (è l'unico oratorio tratto dal Nuovo Testamento). La prima parte tratta dell'Avvento e del Natale; la seconda della Passione e della Resurrezione, culminante nel celebre Halleluja; la.
$3.00
2.77 €
#
Alessandro Macrì
#
Thinking Händel for Baroque Horn Quartet
#
Music Macri Editions
#
SheetMusicPlus
Jessica's Theme (breaking In The Colt) guitar fingerstyle
Guitar notes and tablatures
Guitar Tab, Classical Guitar, Fingerstyle Guitar, Guitar solo, Acoustic guitar - Early…
(+)
Guitar Tab, Classical Guitar, Fingerstyle Guitar, Guitar solo, Acoustic guitar - Early Intermediate - Digital Download By Bruce Rowland. Arranged by PianoSheetNow. Sheet Music Single, Tablature. 4 pages. Published by PianoSheetNow
Jessica's Theme (breaking In The Colt) from the 1982 film The Man from Snowy River by Bruce Rowland who composed the music for the film, and also conducted the orchestra during the recording of the album.<br> Jessica's Theme is an uplifting tune, that will change your mood (and your audience mood) for the better!<br> Guitar in drop D tuning (low E to D).<br> <br> Guitar solo (classical or acoustic), early Intermediate to intermediate.<br> With standard notation and tablature (TAB).<br> Pages: Four (4) pages, 3' min.
$4.99
4.6 €
#
Guitar notes and tablatures
#
Bruce Rowland
#
Jessica's Theme
#
PianoSheetNow
#
SheetMusicPlus
Molto allegro e vivace A major
Piano solo
Piano - easy to intermediate - Digital Download SKU: S9.Q11246 Jägerlied.…
(+)
Piano - easy to intermediate - Digital Download SKU: S9.Q11246 Jägerlied. Composed by Felix Bartholdy Mendelssohn. Edited by Andre Terebesi. This edition: Sheet music. Copyright 2010 Schott Music GmbH & Co. KG, Mainz. Downloadable. Volume op. 19/3. 4 pages. Schott Music - Digital #Q11246. Published by Schott Music - Digital (S9.Q11246). Key: A major.Digital publication of the piece found in the following print music collection: Songs Without Words - Selection for piano lessons.
$2.99
2.76 €
#
Piano solo
#
Felix Bartholdy Mendelssohn
#
Molto allegro e vivace A major
#
Schott Music - Digital
#
SheetMusicPlus
Allegro Molto: Viola
Viola (band part)
String Orchestra - Digital Download SKU: AX.00-PC-0016327_VA1 Viola. Compose…
(+)
String Orchestra - Digital Download SKU: AX.00-PC-0016327_VA1 Viola. Composed by Wolfgang Amadeus Mozart. Arranged by Douglas E. Wagner. Classical. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016327_VA1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016327_VA1). UPC: 038081471785.The familiar uplifting themes of the first movement of Mozart's tuneful Gran Partita, K361, written for 13 wind instruments, can now be heard in this delightful first-time arrangement for string orchestra. This is a true showpiece for your players with many teaching opportunities, and a solid audience pleaser---a perfect choice for concert or contest. (7:50) This title is available in SmartMusic.Concert/Contest; Festival.
$5.99
5.53 €
#
Viola (band part)
#
Wolfgang Amadeus Mozart
#
Festival.
#
Allegro Molto: Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Allegro Molto: 2nd Violin
Violin (band part)
String Orchestra - Digital Download SKU: AX.00-PC-0016327_VN2 2nd Violin. Co…
(+)
String Orchestra - Digital Download SKU: AX.00-PC-0016327_VN2 2nd Violin. Composed by Wolfgang Amadeus Mozart. Arranged by Douglas E. Wagner. Classical. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016327_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016327_VN2). UPC: 038081471785.The familiar uplifting themes of the first movement of Mozart's tuneful Gran Partita, K361, written for 13 wind instruments, can now be heard in this delightful first-time arrangement for string orchestra. This is a true showpiece for your players with many teaching opportunities, and a solid audience pleaser---a perfect choice for concert or contest. (7:50) This title is available in SmartMusic.Concert/Contest; Festival.
$5.99
5.53 €
#
Violin (band part)
#
Wolfgang Amadeus Mozart
#
Festival.
#
Allegro Molto: 2nd Violin
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Allegro Molto: 1st Violin
Violin (band part)
String Orchestra - Digital Download SKU: AX.00-PC-0016327_VN1 1st Violin. Co…
(+)
String Orchestra - Digital Download SKU: AX.00-PC-0016327_VN1 1st Violin. Composed by Wolfgang Amadeus Mozart. Arranged by Douglas E. Wagner. Classical. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016327_VN1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016327_VN1). UPC: 038081471785.The familiar uplifting themes of the first movement of Mozart's tuneful Gran Partita, K361, written for 13 wind instruments, can now be heard in this delightful first-time arrangement for string orchestra. This is a true showpiece for your players with many teaching opportunities, and a solid audience pleaser---a perfect choice for concert or contest. (7:50) This title is available in SmartMusic.Concert/Contest; Festival.
$5.99
5.53 €
#
Violin (band part)
#
Wolfgang Amadeus Mozart
#
Festival.
#
Allegro Molto: 1st Violin
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
<
1
26
51
....
4851
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
