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Let It Be Me
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Let It Be
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1501238 By The…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1501238 By The Beatles. By John Lennon and Paul McCartney. Arranged by Frank Oldengott. A Cappella,Pop,Rock,Singer/Songwriter,Soul. 9 pages. Frank Oldengott #1077197. Published by Frank Oldengott (A0.1501238). The Beatles A Cappella Arrangement for mixed SATB Choir. Quick notes to sound and fun!You can easily rehearse the feeling and groove of the song, when you sing along to the original-song. Please let me know, when your choir has published a video of the song!All parts of the arrangement were created with great care and respect for the original song. No part was influenced or generated by AI.Frank Oldengottwww.fantastartist.de.
3.18 €
$3.49
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Chorale SATB
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The Beatles
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Frank Oldengott
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Let It Be
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Frank Oldengott
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
35.47 €
$38.95
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
35.47 €
$38.95
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Thy Will, O Lord, Be Done - a sacred hymn
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1444328 Compos…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1444328 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Religious,Sacred,Spiritual. 2 pages. Kevin G. Pace #1024243. Published by Kevin G. Pace (A0.1444328). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mark R. Fotheringham.Text:Thy will, O Lord, be done,What e'r it be.Bend my poor will to Thine.Help me to seeWisdom and love combineIn Thy perfect sight.As I turn my heart to TheeLead me on to light.Here I surrender all,All sin and pride.Loose ev'ry man-made chain,Leave them behind.Let Thy atoning bloodWash from me all stain.Let Thy goodness and Thy loveFree my soul from pain.Thy will be mine this day,Thy work to do.Lead me now forth in faithStrengthened anew.Bless me to see each need,Hear each desperate cry.Let me be Thy servant still,Pointing souls on high.
1.81 €
$1.99
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Chorale SATB
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Kevin G
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Thy Will, O Lord, Be Done - a sacred hymn
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Kevin G. Pace
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SheetMusicPlus
Let There Be Peace On Earth
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1510104 Composed by J…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1510104 Composed by Jill Jackson and Sy Miller. Arranged by Mikhail Rimsky-Korsakov. Christian,Classical,Praise & Worship,Religious,Sacred. Score. 13 pages. MRK Studio #1085301. Published by MRK Studio (A0.1510104). Let the be Peace on Earth is an amazing song medley consisting of three peace theme songs, i.e. Dona Nobis Pacem a traditional melody/words meaning 'Give us Peace', Give us Peace composed by J. du Toit and Let there be Peace on Earth composed/words by J. Jackson & S. Miller. Treat your audience with this wonderful cry for peace in our extremely volatile world. Read more:Dona Nobis PacemLet There Be PeaceThis song was commissioned by a South African Baritone Soloist to be performed by a Baritone Soloists, Violin, Piano and an optional Harpsichord part. All parts are included in the sale. This arrangement was produced using Dorico 5..1 & NotePerformer 4.5My arrangements are custom made for any ensemble required and voiced specifically for their instrumentation. So, feel free to contact me should you require any music arranged for your ensemble. I voice it with the tonal colors of your instrumentation (keeping in mind the strong and weaker musicians) to bring the most out of your performance! The best part is, you get it right here from this music publisher for ease of mind! Enquire at: mikhailrimskykorsakov@gmail.com for Arrangements / Composition or Publishing requests.
9.11 €
$10.00
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Piano, Voix et Guitare
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Jill Jackson and Sy Miller
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Mikhail Rimsky-Korsakov
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S
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Let There Be Peace On Earth
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MRK Studio
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SheetMusicPlus
Let It Snow! Let It Snow! Let It Snow!
Ligne De Mélodie, (Paroles) et Accords
C Instrument - Level 4 - Digital Download SKU: A0.505903 By Mannheim Steamroller. B…
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C Instrument - Level 4 - Digital Download SKU: A0.505903 By Mannheim Steamroller. By Jule Styne and Sammy Cahn. Arranged by arr. by John Fries. 20th Century,Christmas,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #117545. Published by John Fries (A0.505903). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  Let It Snow! Let It Snow! Let It Snow!, also known as simply Let It Snow, is a song written by lyricist Sammy Cahn and composer Jule Styne in July 1945. It was written in Hollywood, California during a heat wave as Cahn and Styne imagined cooler conditions. Despite the lyrics making no mention of any holiday, the song has come to be regarded as a Christmas song worldwide due to its winter theme, being played on radio stations during the Christmas and holiday season, and having often been covered by various artists on Christmas-themed albums.
3.63 €
$3.99
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Ligne De Mélodie, (Paroles) et Accords
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Mannheim Steamroller
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arr
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Let It Snow! Let It Snow! Let It Snow!
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John Fries
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SheetMusicPlus
Let It Snow! Let It Snow! Let It Snow!
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201327 By Jessica Si…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201327 By Jessica Simpson. By Jule Styne and Sammy Cahn. Arranged by John Fries. 20th Century,Christmas,Holiday,Jazz,Standards. Score. 2 pages. John Fries #799981. Published by John Fries (A0.1201327). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. Let It Snow! Let It Snow! Let It Snow!, also known as simply Let It Snow, is a song written by lyricist Sammy Cahn and composer Jule Styne in July 1945. It was written in Hollywood, California during a heat wave as Cahn and Styne imagined cooler conditions. Despite the lyrics making no mention of any holiday, the song has come to be regarded as a Christmas song worldwide due to its winter theme, being played on radio stations during the Christmas and holiday season, and having often been covered by various artists on Christmas-themed albums.
4.54 €
$4.99
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Piano, Voix et Guitare
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Jessica Simpson
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John Fries
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Let It Snow! Let It Snow! Let It Snow!
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John Fries
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SheetMusicPlus
Symphony No. 2 ... A Phantasmagorey Ballet (1998)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869368 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126 pages. Thomas Oboe Lee #33643. Published by Thomas Oboe Lee (A0.869368). Instrumentation: 3232-4331-timp-2perc-pf-hp-strings. Program note. Nineteen ninety-eight marks the tenth anniversary of my plunge into the world of ballet. I continue to take classes three or four times a week. It's fun, athletic, and challenging. And I'm still working on the basic notion of spotting in my pirouettes ... So when Max Hobart of the Civic Symphony Orchestra of Boston agreed to premiere a new work of mine I knew it had to be a symphonic ballet. Coincidentally, I discovered that my favorite cartoonist, Edward Gorey, is also a balletomane. He lived in New York City between 1953 and 1986 and never missed a single performance of the New York City Ballet. Apparently his leaving New York to live permanently on Cape Cod was prompted by the death of George Balanchine in 1983. Among Edward Gorey's many books there is one, The Gilded Bat, about a young woman, Maud Splaytoe, and her adventures in the ballet world. She dies in the end when the plane she is in flies into a great, dark bird. Hmmm, I thought, The Gilded Bat would make a nice adagio movement. To complete the work, I found four other Gorey books that attracted me in mood and texture: The Nursery Frieze - dogs running across the edge of a nursery ceiling, barking out words whose sequence provides no sense or meaning, e.g., Archipelago, cardamon, obloquy, ignavia, samisen, bandages, wax, Gavelkind, ... ; The Raging Tide - a fantastical story about four creatures, Figbash, Hooglyboo, Naeelah and Skrump, who would not stop abusing each other; The Utter Zoo - an alphabet book of zoo animals of Edward Gorey's concoction, e.g., Ampoo, Boggerslosh, Crunk, Dawbis, Epitwee, ... ; and The Blue Aspic - a macabre story of a mad fan, Jasper Ankle, who stalks an opera diva, Ortenzia Caviglia. When he finally meets her at the stage-door after a performance, he stabs her in the throat and cries, J'ai trouvé Hortense! Symphony No. 2 ... A Phantasmagorey Ballet is in five movements: I. The Nursery Frieze, Con moto. II. The Gilded Bat Adagio: Pas seul for Mirella Splatova, aka Maud SplaytoeIII. The Raging Tide Presto: Pas de Quatre for Figbash, Hooglyboo, Naeelah and Skrump. IV. The Blue Aspic Allegro: Valzer alla Prokofiev ... Pas de deux for Jasper Ankle and Ortenzia Caviglia. V. The Utter Zoo Largo: Grand Funk Finale. This work is dedicated to my wife, Kristin Beckwith, whom I met ten years ago at the Boston Ballet, and who continues to be my one and only ballet teacher.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-2-a-phantasmagorey-ballet-1998
9.1 €
$9.99
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Orchestre
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Thomas Oboe Lee
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Symphony No. 2 ... A Phantasmagorey Ballet
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Thomas Oboe Lee
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SheetMusicPlus
He Will Lead Me Home
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1281185 By Kevin Longley. By…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1281185 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. Christian,Easter,Lent,Praise & Worship,Sacred. Score. 9 pages. Kevin Longley #872527. Published by Kevin Longley (A0.1281185). He Will Lead Me Home (choral church anthem composed in 2023)The InspirationA few Easter seasons ago, during one of our Tuesday Choir rehearsals, we were preparing for “Good Shepherd Sundayâ€. Diane our Choir director commented “there are very few Good Shepherd pieces to choose fromâ€. One of our sopranos replied “Let's write our ownâ€. I made note of it and this past year finally found the time and inspiration to give it a try. I did my usual research on the subject matter and then found a drawing of a Shepherd standing at the top of a hill with his sheep lined up behind him. Leaning on his staff the Shepherd was contemplating the safest route home. Upon his decision he looked back and called to his sheep. The MusicThe music begins with a piano introduction depicting the Shepherd standing at the top of the hill contemplating the safest route home, as noted earlier. Stately in nature it features a simple melodic idea, played by the right hand, which is then answered by a series of majestic chords. This “back and forth†continues until it reaches its climax at a D flat major chord against a slur from a high G to F. At this point we hear what will be a reoccurring chordal theme of C major to F major and later C minor to F major. The accompaniment begins, now in three quarter time signifying the sheep beginning to move in response to the shepherds call. The verse melody is drawn from the opening three notes of the introduction but with a different rhythm and repeats it self with underlying harmonic changes. The melody and chord structure is somewhat impressionistic in nature. Lyrically a contrast is drawn between how the Shepherd (Jesus) provides for his sheep (followers) and how God provides for the “sheep†(animals) through nature. As the verse comes to an end we are lead to the realization that “the shepherd is the Lord our King, the Good Shepherd Kingâ€. The refrain begins with the tenor continuing to solo on the main melody. â€He Will Lead Home†is realized and proclaimed! A soprano descant is added for contrast. Harmonically the music makes use of the various minor key options, “melodic, harmonic and naturalâ€. The refrain concludes proclaiming “The Good Shepherds the Way He's our Life!â€. The second verse shadows the thought pattern of verse one leading to the refrain once more but this time a bridge is introduced to add drama with the piano playing a significant role. A return to the refrain is varied with the tenor singing a portion of it against softly played chords; but then resumes its rhythmic drive to its ultimate conclusion by repeating “the Good Shepherds the Way He's our Life!â€.Program NotesVoicing can be varied based on what types of singers are available. For example this could be sung by 2 tenors with one singing the descant down an octave. Finally as noted in the score, the intro is optional though I prefer it be played; the shepherd contemplating a safe route is important in the music with its contrast to the verse music and important in our life of faith.Â
1.81 €
$1.99
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Piano, Voix
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Kevin Longley
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Kevin Longley
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He Will Lead Me Home
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Kevin Longley
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SheetMusicPlus
This Is Me
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.746169 Composed by Benj Pasek and Justin Paul. Arranged by Michael Pilley. Contemporary. Brass Band. 57 pages. Michael Pilley Music #3540989. Published by Michael Pilley Music (A0.746169). From the smash hit movie musical The Greatest Showman comes a stirring song that encompasses the moral lesson of self-acceptance and triumph under adversity. Scored for standard brass band at an advanced-intermediate difficulty, this arrangement utilises extended percussion techniques to mirror the amazing orchestration in the original soundtrack and will be a sure fire hit in any program.Featuring two solos by the flugelhorn, a cornet and trombone duet, extended percussion such as field drum and techniques for capturing the woosh sound in the original recording, this arrangement is a direct transcription of the track on the original soundtrack.You can hear the entire piece here: https://youtu.be/7pYOaatfUsY and for a simplified 10 piece Brass Ensemble arrangement, click here: https://goo.gl/oKr6fbWith music by the award winning Pasek and Paul, The Greatest Showman is a movie musical based on the life of P.T. Barnum. It is a story of overcoming adversity, rising above social classes and the establishment of an entertainment visionary. Brilliantly played by Keala Settle, the bearded lady gives us an emotional rendition of This Is Me, with lyrics such as I won’t let them break me down to dust and I am who I’m meant to be, speaking of the struggle to be accepted in society.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
45.53 €
$50.00
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Benj Pasek and Justin Paul
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Michael Pilley
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This Is Me
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Michael Pilley Music
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SheetMusicPlus
This Is Me
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.746174 Composed by Benj Pasek and Justin Paul. Arranged by Michael Pilley. Broadway,Film/TV,Musical/Show,Pop. Brass Band. 77 pages. Michael Pilley Music #3867599. Published by Michael Pilley Music (A0.746174). From the smash hit movie musical The Greatest Showman comes a stirring song that encompasses the moral lesson of self-acceptance and triumph under adversity. Scored for choir, brass band and rhythm at an advanced-intermediate difficulty, this arrangement utilises extended percussion techniques to mirror the amazing orchestration in the original soundtrack and will be a sure fire hit in any program.Featuring extended percussion such as field drum and techniques for capturing the woosh sound in the original recording, this arrangement is a direct transcription of the track on the original soundtrack.With music by the award winning Pasek and Paul, The Greatest Showman is a movie musical based on the life of P.T. Barnum. It is a story of overcoming adversity, rising above social classes and the establishment of an entertainment visionary. Brilliantly played by Keala Settle, the bearded lady gives us an emotional rendition of This Is Me, with lyrics such as I won’t let them break me down to dust and I am who I’m meant to be, speaking of the struggle to be accepted in society.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
72.85 €
$80.00
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Benj Pasek and Justin Paul
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Michael Pilley
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This Is Me
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Michael Pilley Music
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SheetMusicPlus
Daphne ... An Imaginary Ballet (2015) for string orchestra, full score
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.869398 Composed by Thomas Obo…
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String Orchestra - Level 4 - Digital Download SKU: A0.869398 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 38 pages. Thomas Oboe Lee #432015. Published by Thomas Oboe Lee (A0.869398). Instrumentation: Violins 1a. Violins 1b. Violins 2a. Violins 2b. Viola. Cello. Double bass. Program note. I go to Rome every year during my winter break from teaching. My favorite statue in the Galleria Borghese is Bernini's Apollo and Daphne. It is amazingly alive and beautiful. When the Pro Arte Chamber Orchestra of Boston asked me to write a work for string orchestra, I immediately thought of the fabulous Apollon Musagète by Stravinsky. Wouldn't it be fun to write a companion piece to the Stravinsky and call it Daphne? And since the Stravinsky Apollo is a ballet, my Daphne would be one as well, although an imaginary one. Daphne is in three sections. 1. Moderato ... Apollo struts around at a party, flirting with the nymphs and then suddenly he notices Daphne. He falls in love immediately. 2. Fuga ... Unnerved by Apollo's attention, Daphne flees. Apollo chases after her. 3. Largo ... Apollo catches up to Daphne and declares his love for her. She struggled to free herself from him and calls for help. To save Daphne from Apollo, her father Ladon, the river god, transforms Daphne into a laurel tree. Curtain.Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/daphne-an-imaginary-ballet-2015
9.1 €
$9.99
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Orchestre à Cordes
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Thomas Oboe Lee
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Daphne ... An Imaginary Ballet
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Thomas Oboe Lee
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SheetMusicPlus
Let Me In
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.922609 Composed by Kurt Bestor, Mic…
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Piano Solo - Level 4 - Digital Download SKU: A0.922609 Composed by Kurt Bestor, Michael McLean, and Sam Cardon. Arranged by Kimberly Joy Minarich. Broadway,Contemporary,Film/TV,Musical/Show. Score. 3 pages. Kimberly Joy Minarich #6533113. Published by Kimberly Joy Minarich (A0.922609). From the Feature Films for Families, RigolettoHere, you will find the beautiful melody of Let Me In, from Kurt Bestor and Sam Cardon, made into a lovely, intermediate piano solo. The melody is true to their original composition, making it a wonderful accompaniment to a vocal arrangement, if desired. I simply wanted to share this arrangement, as there is not many out in the world! I came up with this arrangement in high school when I first fell in love with the movie/musical, Rigoletto, and have been playing it ever since! (It was my first attempt at arranging!) I finally wrote it down with the intention of giving others the opportunity to play it as well. This song is too beautiful to not be shared and enjoyed! Enjoy!
7.28 €
$7.99
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Piano seul
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Kurt Bestor, Michael McLean, and Sam Cardon
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Kimberly Joy Minarich
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Let Me In
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Kimberly Joy Minarich
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SheetMusicPlus
From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.730401 Composed by James Nathan…
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Full Orchestra - Level 4 - Digital Download SKU: A0.730401 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 pages. James Nathaniel Holland #3142471. Published by James Nathaniel Holland (A0.730401). Tenor Aria From the Hillside from the 21st Century Opera ON THE WINGS OF THE SCARLET MESSENGER (Based on the Henry James novel, On the Wings of a Dove) here with full orchestral accompaniment. (Full score in concert pitch, voice, and individual parts included) This accompaniment can also be used with the solo and male ensemble that is contained in the full vocal score.Instrumentation: pic, fl12,ob12,eh,cl12,bcl,tenor sax, bsn12,hrn1234, trpt 12, trmb, btrm, timp, hand cym/egg shaker, hrp, voice, stringsDuration: 4:00 minutes (Sample here begins with extra measure) Video presentation at: https://www.youtube.com/watch?v=u47yb4kiE0Y Curious? Listen to the complete opera playlist en demo at: http://www.youtube.com/watch?v=Rr5x_aXnUMM&list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMa Adaptation, Libretto, and Music by James Nathaniel Holland Performance: James Nathaniel Holland, Tenor Orchestra: CH Symphony Group (Complete Duration: 2 hours) BRIEF SYNOPSIS: In the urban capital of Soon Rafa, lovers Mariana (Soprano) and Kai (Bass) cannot be together because of Mariana's disapproving wealthy Aunt (Mezzo-Soprano). Torn between love and financial security, an unlikely opportunity arises when a dying rich Occidental, Justin (Tenor) reveals his romantic interest in Kai. The couple plot a pretense to inherit Justin's money and be free to marry and live together. This aria occurs in Act I, Scene 2. Justin (tenor) has just hired a group of porters, including Kai (bass), to guide him through the jungles of the island to photograph the mythical bird, the Scarlet Messenger. Although the men insist it is a legend, Justin inspires them to persevere with him. Aria Libretto, Justin (tenor singing): From the hillside, something breaks free. Is it real? Or just illusion? Oh how I have to see you, feel that beauty. Upon your wings our souls must one day fly to heaven. Never doubt that you can find him, hiding among your dreams. For when you feel all hope is gone, that's when you spot his red wings, fiery bright. (to the group of porters) So come with me, all's not in vain. It is real, just not illusion. The day is fading fast, oh, so quickly. We'll be the first to see that blazing path of fire. The Scarlet Messenger! Oh how that would be the greatest gift of my life. Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html Music, Lyrics, Performance Copyright 2017 James Nathaniel Holland.
14.52 €
$15.95
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Orchestre
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James Nathaniel Holland
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From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes
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James Nathaniel Holland
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SheetMusicPlus
IN THE CROSS - Worship Service Complete PACKAGE - 10 Hymn Arrangements with Overhead PDF Texts
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.931662 Composed by Reginald Heber, …
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Piano Solo - Level 4 - Digital Download SKU: A0.931662 Composed by Reginald Heber, George Bennard, Robert Lowry, Hassler/J.S. Bach, Isaac Watts,. Arranged by Wanda J. Cooley. 20th Century,Contemporary,Easter,Sacred. Score. 150 pages. Wanda J. COOLEY #6252651. Published by Wanda J. COOLEY (A0.931662). IN THE CROSS is a COMPLETE WORSHIP SERVICE PACKAGE (total Presentation Time = 55 minutes) consisting of 10 Hymn Arrangements with PDF Words sequenced to unfold as the pianist plays. Templates are included: Posters, Invitations, Programs, Thank-you notes and a Coordinator's Kit so that the pianist's only assignment is the music! These hymns present the Gospel in churches, nursing homes, and prisons using one or more pianists. Congregational participation is enhanced through the Spoken Scriptures and the Preambles (stories) which precede the hymns. There are 62 pages of arrangements with 75 overhead pdf slides (sequenced with numerals), plus extras! Hymn Arrangements: Holy, Holy, Holy - Fairest Lord Jesus - The Old Rugged Cross - Nothing But the Blood - Whiter Than Snow - Are You Washed in the Blood? - O Sacred Head Now Wounded - Grace Greater Than Our Sin - Jesus, Keep Me Near the Cross - When I Survey the Wondrous Cross - And Can It Be? - Rejoice, the Lord Is King! - Children of the Heavenly Father - When He Cometh - Crown Him with Many Crowns.
16.39 €
$18.00
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Piano seul
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Reginald Heber, George Bennard, Robert Lowry, Hassler/J
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Wanda J
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IN THE CROSS - Worship Service Complete PACKAGE - 10 Hymn Arrangements with Overhead PDF Texts
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Wanda J. COOLEY
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SheetMusicPlus
Let Thy Holy Spirit Guide, sacred music for SATB choir, 2023
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1219695 Composed by Kevin …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1219695 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 9 pages. Kevin G. Pace #816065. Published by Kevin G. Pace (A0.1219695). A stunning, sacred choral arrangement for SATB choir.  Music by Kevin G. Pace.  Text by Kevin G. Pace & Mark R. Fotheringham.Text:Let Thy Holy Spirit guide, throughout my journey on earth. Thou hast blessed me graciously from the very moment of birth. Let me hold the iron rod. Help me find the way. Lead me to the tree of life to rejoice while still it is the day.Let Thy Holy Spirit guide, May thy tender mercies mercies revealed Lead me to the tree of life. Let me serve Thee,  Thy love to love to  feel.Let Thy Holy Spirit guide, Though strait and narrow the way. Keep me on the path to Thee through the darkness lest I should stray. May I ever find joy in Thee, as my will meets Thine. Let me see Thy countenance, recognizing something there in mine. Let Thy Holy Spirit guide. May my place with Thee be assured.Lead me to the tree of life. Through repentance my ills be cured.Let Thy Holy Spirit guide when mortal life has an end.Let my soul be lifted up to behold Thy presence again. Guide my steps by faith in Thee. Lead me I implore. May I find my place with Thee, there abide to go out nevermore. Let Thy Holy Spirit guide. Neither stranger nor as a guest, Lead me to the tree of life. Let me there find eternal rest.
1.81 €
$1.99
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Chorale SATB
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Kevin G
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Mark R
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Let Thy Holy Spirit Guide, sacred music for SATB choir, 2023
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Kevin G. Pace
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SheetMusicPlus
Introduzione e balletti (2022)
2 Violoncelles (duo)
Cello Duet Cello - Level 4 - Digital Download SKU: A0.1050199 Composed by Thomas Ob…
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Cello Duet Cello - Level 4 - Digital Download SKU: A0.1050199 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary. Score. 25 pages. Thomas Oboe Lee #654576. Published by Thomas Oboe Lee (A0.1050199). Claire Kim (a.k.a. Deok Yong Kim) has been my go-to cellist since I first heard her with the NICO Quartet in 2019 @ NEC in Jordan Hall. She recently found a boyfriend who is also a cellist, Bennet Huang. They have been dinner guests at our home many times. So, when I ran out of projects to do in the early summer of 2022, I decided to write a duo of two cellos for them. In my search for inspiration, I discovered that Ermmano Wolf-Ferrari (1876 - 1948) wrote a number of nice duets for violin and cello. The one that really intrigued me was his Introduzione e balletto. And since my wife, Kristin Beckwith, is a ballet teacher who has only recently retired from teaching at the Boston Ballet School, I thought this would be a nice gesture to dedicate this work to her. The Wolf-Ferrari is only a two-movement work, hence the title's balletto reference. Mine will be a multi-movement work with many balletti in it. I. Introduzione II. Valser III. Bolero IV. Sarabanda V. Tarantella VI. Barcarola VII. Bandinerie VIII. Siciliana Enjoy!
9.1 €
$9.99
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2 Violoncelles (duo)
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Thomas Oboe Lee
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Introduzione e balletti
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Thomas Oboe Lee
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SheetMusicPlus
Let Me Go, Lover!
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201365 By Peggy Lee.…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201365 By Peggy Lee. By Al Hill and Jenny Lou Carson. Arranged by John Fries. 20th Century,Country,Pop,Standards. Score. 2 pages. John Fries #800020. Published by John Fries (A0.1201365). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. It is based on an earlier song called Let Me Go, Devil, about alcoholism. Let Me Go, Lover was first featured on the television program Studio One on November 15, 1954, and caught the fancy of the public. Mitch Miller took advantage of the recording's exposure on national television and sent copies of the record to 2,000 disc jockeys, who began to play it on their radio stations. A result of the program was to illustrate how efficiently a song could be promoted by introducing it to the public via radio or a TV production.
4.54 €
$4.99
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Piano, Voix et Guitare
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Peggy Lee
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John Fries
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Let Me Go, Lover!
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John Fries
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SheetMusicPlus
Let Me Go, Lover!
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201367 By Peggy Lee.…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201367 By Peggy Lee. By Al Hill and Jenny Lou Carson. Arranged by John Fries. 20th Century,Country,Pop,Standards. Score. 2 pages. John Fries #800022. Published by John Fries (A0.1201367). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. It is based on an earlier song called Let Me Go, Devil, about alcoholism. Let Me Go, Lover was first featured on the television program Studio One on November 15, 1954, and caught the fancy of the public. Mitch Miller took advantage of the recording's exposure on national television and sent copies of the record to 2,000 disc jockeys, who began to play it on their radio stations. A result of the program was to illustrate how efficiently a song could be promoted by introducing it to the public via radio or a TV production.
4.54 €
$4.99
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Piano, Voix et Guitare
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Peggy Lee
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John Fries
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Let Me Go, Lover!
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John Fries
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SheetMusicPlus
Bernhard Heinrich Romberg, Concerto for Flute & Orchestra opus 17 Complete
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1510342 By Bernhard Heinrich Ro…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1510342 By Bernhard Heinrich Romberg. By Bernhard Heinrich Romberg. Arranged by Original Manuscript Transcriptions, John Wion / Piano Red, Elaine Baker D'Angelo. Classical. 131 pages. Elaine Baker D'Angelo #1085534. Published by Elaine Baker D'Angelo (A0.1510342). To Whom This May Concern:You have purchased an orchestral score and a set of parts for the BernardRomberg Flute concerto, op 17. The product is marked: “for rental only”because the previous distributor had a policy prohibiting purchase of thesematerials. Only the Flute part and the Piano Accompaniment were available forpurchase. John Wion, discoverer of the work has authorized me to now sell thescore and orchestral parts. This enclosure is to provide you with a record ofyour legal purchase in case keeping the parts in your possession was everquestioned.Also, please find below some comments from Dr. Jon Ceander Mitchell of theUniversity of Massachusetts at Boston who conducted me performing theconcerto in April, 2012. His suggestions and errata information will hopefullylend assistance to you as you prepare for your concert.Quoting five Major points:1) There must be at least one very strong 2nd violin player as some melodies areintroduced from there.2) Trumpets can double the horns at the octave, though only in spots and verydiscreetly, and not playing at all in the second movement. It is most unusual tohave timpani but no trumpets.3) 2nd movement halfway through, the descending viola line that needs to becompleted by a cellist. [p.38, 5 before E, one cellist to play f-B-Csharp 8ths]4) An A sharp in the solo line in 1st movement that is critical; otherwise it soundsbluesy [p. 30,5 after H].5) Missed accidentals in 1st violin in the 3rd movement [p. 43, 2nd and 3rd mmand p. 51, 3rd and 4th mm. C naturals].
27.27 €
$29.95
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Orchestre
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Bernhard Heinrich Romberg
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Bernhard Heinrich Romberg, Concerto for Flute & Orchestra opus 17 Complete
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Elaine Baker D'Angelo
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SheetMusicPlus
Don't Let Me Be Misunderstood
Chorale TTBB
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.940472 By The Animals. By …
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.940472 By The Animals. By Bennie Benjamin, Gloria Caldwell, and Sol Marcus. Arranged by Bob Eggers. Oldies. Octavo. 11 pages. ROBERT J EGGERS #6666533. Published by ROBERT J EGGERS (A0.940472). Originally written in 1964 for singer-songwriter Nina Simone, and later an international chart-topper for The Animals. This song is not exactly a pop song. In fact, it is quite a dramatic piece that is perfect for a tenor soloist or two looking for something expressive. There is a bit of a latin feel to this bold arrangement, which is orchestrated for dueling tenors backed by TTBB.Please visit the YouTube link for a complete preview of this arrangement.Duration: 2:58
1.81 €
$1.99
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Chorale TTBB
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The Animals
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Bob Eggers
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Don't Let Me Be Misunderstood
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ROBERT J EGGERS
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SheetMusicPlus
I May Not Be the One - an original hymn for SATB voices
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701452 Composed by Kevin G…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701452 Composed by Kevin G. Pace, Mark R. Fotheringham. Christian,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3125159. Published by Kevin G. Pace (A0.701452). An original hymn with text by Mark Fotheringham below.YouTube video: https://youtu.be/BGhqSeLVhqgI may not be the one to brighten your eye, I may not be the one whose heart makes you fly, I may not be the one who shows you His ways, But know I am one who for you prays. I may not be the one who gave everything To bring you back to God, our glorious King, I cannot save your soul or cleanse it or mend, But this I can do, forever be your friend. I may not be the one who knows all the truth. It's true I may have been a faltering youth, But now I know my God, who saved me from sin By sending His Son who let me in. So now I am the one who will testify, And now I am the one who'll reach out to try To bless a friend in need, just as I've been blessed, Until we in heaven find eternal rest.
1.81 €
$1.99
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Chorale SATB
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sending His Son who let me in
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Kevin G
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I May Not Be the One - an original hymn for SATB voices
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Kevin G. Pace
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SheetMusicPlus
Nothing You Can Take From Me
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1349823 By Rachel …
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1349823 By Rachel Zegler And The Covey Band. By Dave Cobb and Suzanne Collins. Arranged by Javier Soria Laso. Broadway,Film/TV,Jazz,Musical/Show,Pop,Singer/Songwriter. 57 pages. Javier Soria Laso #934588. Published by Javier Soria Laso (A0.1349823). You've heard Nothing You Can Take From Me from the film The Hunger Games: The Ballad of Songbirds And Snakes (sung by Rachel Zegler) many times, but you'll be gladly astounded to hear this big band chart that puts a spin into it with great measure! After a maestoso rendition of the first verse by the brass section, the drums set up the tempo into a tour de force medium fast tempo tune influenced by Duke Jordan's Jordu (recorded by the Clifford Brown-Max Roach Quintet) & Bobby Timmons's Moanin' (recorded by Art Blakey's Jazz Messengers) that while retaining much of the original tune (verse, refrain & bridge) brings out a distinctive hard bop-influenced twist coupled with solos by tenor sax & drums as well as a powerful soli by the trumpet section and a shout chorus moment by the full band. This chart is perfect as a concert opener, anchorer or closer, and it's another good twist of the saying something old, something new in a refreshing way. Enjoy!This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.About Digital DownloadsDigital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don’t have to be connected to the internet. Just purchase, download and play!PLEASE NOTE: Your Digital Download will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
72.85 €
$80.00
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Ensemble Jazz
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Rachel Zegler And The Covey Band
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Javier Soria Laso
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Nothing You Can Take From Me
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Javier Soria Laso
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SheetMusicPlus
Come, Follow Me, a new sacred hymn
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1083536 Composed by Kevin …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1083536 Composed by Kevin G. Pace (ASCAP), John Nicholson. Praise & Worship,Sacred,Spiritual. Octavo. 3 pages. Kevin G. Pace #687736. Published by Kevin G. Pace (A0.1083536). A beautiful, new musical hymn setting of this famous text by John Nicholson. Music by Kevin G. Pace. Text: Come, follow me, the Savior said. Then let us in his footsteps tread, For thus alone can we be one With God's own loved begotten Son. Come, follow me, a simple phrase, Yet truth's sublime, effulgent rays Are in these simple words combined To urge inspire the human mind. Is it enough alone to know That we must follow him below, While trav'ling thru this vale of tears? No No this extends to holier spheres. Not only shall we emulate His course while in this earthly state, But when we're freed from present cares, if with our Lord we would be heirs. We must the onward path pursue As wider fields expand to view, And follow him unceasingly, WhatWhat e'er our lot or sphere may be. For thrones, dominions, kingdoms, pow'rs, And glory great and bliss are ours, If we throughout eternity, Obey his words, Come follow me. Chorus: Come, follow me. Come follow me. Obey the Savior's words, Come follow me. follow me..
1.81 €
$1.99
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Chorale SATB
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Kevin G
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Come, Follow Me, a new sacred hymn
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Kevin G. Pace
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SheetMusicPlus
Take My Life and Let It Be / He Leadeth Me
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1042438 By Mary Beth Carlson. By He…
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Piano Solo - Level 4 - Digital Download SKU: A0.1042438 By Mary Beth Carlson. By Henri A. C. Malan/William B. Bradbury. Arranged by Mary Beth Carlson. Sacred,Spiritual. Score. 7 pages. Mary Beth Carlson Productions Publishing #647224. Published by Mary Beth Carlson Productions Publishing (A0.1042438). Personal interpretation and medley, highlighted with emotive modulating tempo and occasional key changes.
4.54 €
$4.99
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Piano seul
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Mary Beth Carlson
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Mary Beth Carlson
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Take My Life and Let It Be / He Leadeth Me
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Mary Beth Carlson Productions Publishing
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SheetMusicPlus
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