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Partitions à imprimer
113 partitions trouvées
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101
Traditionnel : Nous n'irons plus au bois
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Violoncelle
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FACILE
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Enfant
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Traditionnel
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Nous n'irons plus au bois
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Tomplay
Telechargez la partition Violoncelle Nous n'irons plus au bois de Traditionnel. Partition pour Duo (2 violoncelles) -- Enfants...
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Telechargez la partition Violoncelle Nous n'irons plus au bois de Traditionnel. Partition pour Duo (2 violoncelles) -- Enfants
1.99€
L'enfance lointaine (Nous n'irons plus aux bois) for alto and guitar
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Voix duo
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INTERMÉDIAIRE
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Contemporain
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David Warin Solomons
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L'enfance lointaine
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David Warin Solomons
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SheetMusicPlus
Voice Duet Voice - Level 3 - SKU: A0.577831 Composed by David Warin Solomons. 20th Century. 4 pages. David Warin Solomons #3226445. Published by David W...
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Voice Duet Voice - Level 3 - SKU: A0.577831 Composed by David Warin Solomons. 20th Century. 4 pages. David Warin Solomons #3226445. Published by David Warin Solomons (A0.577831). Setting of a poem by Marie Keyser which is inspired by the old French children's song Nous n'irons plus aux bois
$8.00 ≈
7.35€
L'enfance lointaine (Nous n'irons plus au bois) (mp3)
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David Warin Solomons
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L'enfance lointaine
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - SKU: A0.1059528 Composed by David Warin Solomons. 20th Century,Children,World. Full Performance. Duration 79. David Warin Solomons #...
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Alto Voice,Guitar - SKU: A0.1059528 Composed by David Warin Solomons. 20th Century,Children,World. Full Performance. Duration 79. David Warin Solomons #3399571. Published by David Warin Solomons (A0.1059528). Score:https://www.sheetmusicplus.com/title/20521206?aff_id=175705Setting of a poem by Marie Keyser which is inspired by the old French children's song Nous n'irons plus aux boisIt is performed here by the composer
$2.00 ≈
1.84€
Le Violoncelle et Nous for 6 celli or more --- Score and Parts --- JCM 2013
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Violoncelle
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Contemporain
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Jean-Christophe Masson
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Le Violoncelle et Nous for 6 c
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Jean-Christophe Masson
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SheetMusicPlus
Cello Solo - SKU: A0.878736 Composed by Jean-Christophe Masson. Contemporary. Individual part. 81 pages. Jean-Christophe Masson #3138383. Published by J...
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Cello Solo - SKU: A0.878736 Composed by Jean-Christophe Masson. Contemporary. Individual part. 81 pages. Jean-Christophe Masson #3138383. Published by Jean-Christophe Masson (A0.878736). Le Violoncelle et Nous for 6 celli --- Score and Parts --- JCM 2013A partir de thèmes composés par les élèves du Conservatoire Populaire de Musique de Genève.©Jean-Christophe Masson N° de membre SACEM 00623 9409 43 Droits de reproduction sonore réservés. www.jcmasson.com
$19.99 ≈
18.36€
Valsa Allegro - 2nd Movement of Piano Quintet nº1
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Piano Quintette: piano, 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Liliane Secco
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Liliane Secco
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Valsa Allegro - 2nd Movement o
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Liliane Secco
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SheetMusicPlus
Piano Quintet Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1133236 By Liliane Secco. By Liliane Secco. Arranged by Liliane Secco. Chamber,Classical,Cont...
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Piano Quintet Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1133236 By Liliane Secco. By Liliane Secco. Arranged by Liliane Secco. Chamber,Classical,Contemporary,Multicultural,World. 47 pages. Liliane Secco #733394. Published by Liliane Secco (A0.1133236). This is the second movement of the Piano Quintet nº1 for string quartet and piano. Full Score and individual parts. Bright, happy, luminous. This is an original piece written by a Brazilian female composer.
$14.99 ≈
13.77€
N.I.C.E. March
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Film/TV
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J
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N.I.C.E. March
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J. Randolph Hall
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SheetMusicPlus
Orchestra Bassoon,Cello,Clarinet,Drum Set,Flute,Horn,Percussion,Trombone,Trumpet,Tuba,Viola,Violin - Interactive Download SKU: A0.482535 Composed by J. R...
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Orchestra Bassoon,Cello,Clarinet,Drum Set,Flute,Horn,Percussion,Trombone,Trumpet,Tuba,Viola,Violin - Interactive Download SKU: A0.482535 Composed by J. Randolph Hall. This edition: Interactive Download. Film/TV. Score and parts. 21 pages. Duration 202. Published by J. Randolph Hall (A0.482535). This march is inspired by C.S. Lewis' That Hideous Strength where the National Institute for Coordinated Experiments is the evil group that wants to transform humanity into something terrifying, living in a dystopian existence. The tritones and the whole tone scale help to create an ominous sound as if the N.I.C.E. is coming to get you. The flutes and first violins play N.I.C.E. in Morse code (U.S).
$20.00 ≈
18.37€
Michel Sardou: Nous n'aurons pas d'enfant
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Piano, Voix et Guitare
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Chanson Française
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Michel Sardou
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Nous n'aurons pas d'enfant
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Quickpartitions
4.99€
Wolves of Winter
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Matthew Denman
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Wolves of Winter
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - SKU: ZZ.DZ-4321 Composed by Matthew Denman. Score. 7 pages. Les Productions d'OZ - Digital #DZ 4321. Published by Les Productions d'OZ - Digita...
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Guitar - SKU: ZZ.DZ-4321 Composed by Matthew Denman. Score. 7 pages. Les Productions d'OZ - Digital #DZ 4321. Published by Les Productions d'OZ - Digital (ZZ.DZ-4321). For, in the end, we will conserve only what we love. We will love only what we understand. We will understand only what we are taught. - Baba Dioum, Senegalese Environmentalist, 1968.I am driven by a profound passion to create music that celebrates and immortalizes the beauty and wonder of our national parks. These parks, with their unique charm, hold a special place in my heart and have been the backdrop for countless cherished memories. I hope my compositions will not only evoke the grandeur of these natural landscapes but also inspire my listeners to experience them firsthand. Wolves of Winter is set in Yellowstone National Park and the vibrant wildlife found in Lamar Valley.« Car, au final, nous ne conserverons que ce que nous aimons. Nous n’aimerons que ce que nous comprenons. Nous ne comprendrons que ce qu’on nous a enseigné. » - Baba Dioum, écologiste sénégalais, 1968.Je suis animé par une passion profonde pour créer une musique qui célèbre et immortalise la beauté et les merveilles de nos parcs nationaux. Ces parcs, avec leur charme unique, occupent une place particulière dans mon cœur et ont été la toile de fond d’innombrables souvenirs précieux. J’espère que mes compositions évoqueront non seulement la grandeur de ces paysages naturels, mais inspireront également mes auditeurs à les découvrir de première main. Wolves of Winter se déroule dans le parc national de Yellowstone et la faune vibrante de la vallée de Lamar.
$5.95 ≈
5.47€
Antonín DvoÅ™ák - MÄ›síÄku na nebi hlubokém (Song to the Moon) piano accompaniment MP3
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Accompagnement Piano
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Dimitris Anousis
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Dimitris Anousis
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Antonín DvoÅ™á
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Dimitris Anousis
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SheetMusicPlus
Piano,Soprano voice - SKU: A0.1069312 By Dimitris Anousis. By AntonÃn Dvořák (1841 - 1904). Arranged by Dimitris Anousis. Multicultural,Opera,...
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Piano,Soprano voice - SKU: A0.1069312 By Dimitris Anousis. By AntonÃn Dvořák (1841 - 1904). Arranged by Dimitris Anousis. Multicultural,Opera,Romantic Period,World. Accompaniment. Duration 301. Dimitris Anousis #5724561. Published by Dimitris Anousis (A0.1069312). This is the piano accompaniment part , from the vocal score, of the original aria for soprano, MÄ›sÃÄku na nebi hlubokém (Song to the Moon) by AntonÃn Dvořák (1841 - 1904) from Act 1 of the opera Rusalka. Performed and recorded perfectly on an amazing quality Steinway & Sons grand piano by the pianist & professional accompanist Dimitris Anousis. This is the ideal piano accompaniment for this aria for soprano! https://www.dimitrisanousis.com/.
$3.99 ≈
3.67€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.97€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00 ≈
22.97€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.97€
La Cumparsita - Solo Accordion
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Accordéon
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INTERMÉDIAIRE/AVANCÉ
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Latin/Musique du monde
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Gerardo Hernán Matos Rodrígu
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Dimitris Anousis
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La Cumparsita - Solo Accordion
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Dimitris Anousis
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SheetMusicPlus
Composed by Gerardo Hernán Matos Rodríguez. Arranged by Dimitris Anousis. Latin, European, Wedding, Recital, Old-time. Score. 9 pages. Published by Dimitris A...
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Composed by Gerardo Hernán Matos Rodríguez. Arranged by Dimitris Anousis. Latin, European, Wedding, Recital, Old-time. Score. 9 pages. Published by Dimitris Anousis (S0.311097). - Score - Latin,European,Wedding,Recital,Old-time - Dimitris Anousis
"La Cumparsita" Music by Music by Gerardo Hernn Matos Rodrguez Arranged for solo accordion by Dimitris Anousis - www.dimitrisanousis.com La Cumparsita advanced solo accordion version. This is the well known composition of the great G. H. M. Rodrguez in an amazing professional made arrangement by the accomplished accordionist, pianist, composer and arranger Dimitris Anousis. Made from an accordionist for accordionists, written in a understandable and correct way for the accordion, with original parts of introduction, solos - cadenzas, but also to have the orchestral feeling while playing, not for the piece to sounds "poor". Ideal for all kinds of recitals, events and not only. Appropriate for advanced students.
$9.99 ≈
9.18€
Debussy-Noël des enfants qui n'ont plus de maison(Nous navons plus de maison),in a minor,CD 147;L.13
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Achille-Claude Debussy
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OSM Press
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Debussy-Noël des enfants
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1395209 Composed by Achille-Claude Debussy. Arranged by OSM Press. Classical. Score. 11 pages. Open Cloud #978676....
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Piano,Vocal,Voice - Level 3 - SKU: A0.1395209 Composed by Achille-Claude Debussy. Arranged by OSM Press. Classical. Score. 11 pages. Open Cloud #978676. Published by Open Cloud (A0.1395209).
$9.99 ≈
9.18€
6 Pieces of Joy an Melancholy
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Yorgos Nousis
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6 Pieces of Joy an Melancholy
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - SKU: ZY.DO-1546 Composed by Yorgos Nousis. Score. 9 pages. Les Editions Doberman-Yppan (digital) #DO 1546. Published by Les Editions Doberman-Y...
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Guitar - SKU: ZY.DO-1546 Composed by Yorgos Nousis. Score. 9 pages. Les Editions Doberman-Yppan (digital) #DO 1546. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1546). SIX PIECES OF JOY AND MELANCHOLY is a collection of short pieces with a more melodic and in some cases rhythmic character. The pieces were composed individually for different occasions, but they work together somehow and offer the performer and the audience a roller-coaster sensation through the constant change of mood. Danceuphoria is the opening piece, an uneven, powerful dance which immediately creates an uplifting mood. Melodic Sorrow is a piece dedicated to the memory of my father, Konstantinos Nousis. It's one of the first pieces I wrote for guitar as a teenager. Here you can read an evolved version of that first piece which keeps the simplicity of the primary inspiration.Lifeness is an ode to life piece full of rich colors, melodies and harmonies. Meditation, originally written as the theme music for a Reiki Yoga YouTube channel, is a very slow and meditative piece with short melodic legato lines. Hope evokes warmer feelings. A simplistic piece based on natural harmonies that calms and soothes us.Finally, Cascading Waltz was chosen as the final piece, because it can be freely interpreted by any performer and gives the opportunity for diverse crescendos and accelerandos.The pieces can complement the repertoire of young students as well as professional guitarists who seek a modern yet melodic approach to the guitar.SIX PIECES OF JOY AND MELANCHOLY est une collection de courtes pièces au caractère plus mélodique et, dans certains cas, rythmique. Les pièces ont été composées individuellement pour des occasions différentes, mais elles fonctionnent ensemble d'une certaine manière et offrent à l'interprète et au public une sensation de montagnes russes grâce au changement constant d'humeur. Danceuphoria est la pièce d'ouverture, une danse inégale et puissante qui crée immédiatement une atmosphère exaltante. Melodic Sorrow est une pièce dédiée à la mémoire de mon père, Konstantinos Nousis. C'est l'une des premières pièces que j'ai écrites pour la guitare lorsque j'étais adolescent. Vous pouvez lire ici une version évoluée de cette première pièce qui conserve la simplicité de l'inspiration première.Lifeness est une ode à la vie, un morceau plein de couleurs, de mélodies et d'harmonies. Meditation, écrit à l'origine comme thème musical pour une chaîne YouTube de Reiki Yoga, est un morceau très lent et méditatif avec de courtes lignes mélodiques legato. Hope évoque des sentiments plus chaleureux. Il s'agit d'un morceau simpliste basé sur des harmonies naturelles qui nous calme et nous apaise.Enfin, Cascading Waltz a été choisie comme pièce finale, car elle peut être interprétée librement par n'importe quel interprète et donne l'occasion de divers crescendos et accelerandos.Les morceaux peuvent compléter le répertoire des jeunes étudiants ainsi que des guitaristes professionnels qui recherchent une approche moderne et mélodique de la guitare.1. Danceuphoria2. Melodic Sorrow3. Lifeness4. Meditation5. Hope6. Cascading Waltz.
$5.95 ≈
5.47€
Je suis né fort
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Musique Sacrée
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Justin Dimbeng
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Justin Dimbeng
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Je suis né fort
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Justin Dimbeng
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.1060252 By Justin Dimbeng. By Justin Dimbeng. Arranged by Justin Dimbeng. Classical,Praise & Worship,Sacred,Spiritual...
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Large Ensemble - Level 5 - SKU: A0.1060252 By Justin Dimbeng. By Justin Dimbeng. Arranged by Justin Dimbeng. Classical,Praise & Worship,Sacred,Spiritual,Standards. Score and parts. 9 pages. Justin Dimbeng #664583. Published by Justin Dimbeng (A0.1060252). Du haut des cimes, un seul regard peut faire prêter nos cœurs aux cries des frères en peine. Piece musicale de réalisation des parcelles divines en chacun de nous. Indiquée pour le raffermissement de la foi, des actions de grace et pour l'amour de son prochain.
$12.99 ≈
11.93€
Kör ad lib. Grön
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Various
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Gunnar Eriksson
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Kör ad lib. Grön
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
Various - SKU: BJ.1104 Composed by Various. Arranged by Gunnar Eriksson. Octavo. 89 pages. Bo Ejeby Forlag - Digital #1104. Published by Bo Ejeby Forlag...
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Various - SKU: BJ.1104 Composed by Various. Arranged by Gunnar Eriksson. Octavo. 89 pages. Bo Ejeby Forlag - Digital #1104. Published by Bo Ejeby Forlag - Digital (BJ.1104). 8.27 x 11.7 inches.French and Swedish folksongs are the foundation for the models of improvisation and arrangements that are presented in this booklet for choirs on all levels.The idea of this book is to provide the choral conductor and the choir with a way into a somewhat more liberated way of working less tied to sheet music. Or if you wish: let the ears be more important than the eyes, and the body more important than the brain in the first encounter with the music. I present some simple, more or less ancient, ideas on composition and collective improvisation. You can create your own building kits, which in turn can develop into soundscapes. This can also serve as an invitation to the choir to, in a playful manner, approach the contemporary music and its ways of expression. - Gunnar ErikssonNotes in Swedish, French and English.Contents: Cris et chants de bergers Kuleken Voici le joli mois de Mai Majvisa Varvindar friska / Le murmure de vent In vernali tempore Den blomstertid nu kommer / Arrive le temps allegre Tempus adest floridum Voici l'hiver passe / Nu vintern tar adjo Voici le mois de mai Vatnsdaelinga Voila le printemps Tourdion Limu limu lima Rossignol du bois sauvage En gang i bredd med mig / Un jour devant l'autel J'entends dans le bocage La douce pensee Loyaute vueil toujours maintenir Kling, klang, klockan slar / Ding, dong sonne la cloche Rossignolet du bois / Nu ar en ljuvlig tid Jag vet en dejlig rosa / Une rose dans la nature La segaireta Gladjens blomster / Les fleurs de la joie Y'a pas d'amour sans peine Vem kan segla / Qui peut faire de la voile Devinez ce qu'il y a Martolodet, d'in o leret Vinden drar / Vent leve Vinden drar / Martolodet Vi aro musikanter / Nous sommes des musicienes O lo compogno / Vi aro musikanter Vi aro musikanter - quodlibet Ma mer' m'envoie-t-au marche Bon vin Kyrie Gloria Toi qui vient pour tout sauver / Varldens Fralsare kom har.
$20.00 ≈
18.37€
The Internationale - Communist Anthem (L’Internationale)
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Piano, Voix
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FACILE
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Eugène Pottier, Pierre Dege
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Cadenza Editions
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The Internationale - Communist
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Cadenza Editions
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.570255 Composed by Eugène Pottier, Pierre Degeyter. Arranged by Cadenza Editions. 20th Century,Patriotic,World....
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Piano,Vocal,Voice - Level 2 - SKU: A0.570255 Composed by Eugène Pottier, Pierre Degeyter. Arranged by Cadenza Editions. 20th Century,Patriotic,World. Score. 2 pages. Cadenza Editions #4763997. Published by Cadenza Editions (A0.570255). The Communist Anthem (l’Internationale) For Solo PianoDebout! les damnés de la terre!Debout! les forçats de la faim!La raison tonne en son cratère,C'est l'éruption de la fin. Du passé faisons table rase,Foule esclave, debout! debout!Le monde va changer de base:Nous ne sommes rien, soyons tout! C'est la lutte finaleGroupons-nous, et demain,L'Internationale,Sera le genre humain. C'est la lutte finaleGroupons-nous, et demain,L'Internationale,Sera le genre humain. Il n'est pas de sauveurs suprêmes,Ni Dieu, ni César, ni tribun,Producteurs sauvons-nous nous-mêmes!Décrétons le salut commun! Pour que le voleur rende gorge,Pour tirer l'esprit du cachot,Soufflons nous-mêmes notre forge,Battons le fer quand il est chaud!C'est la lutte finaleGroupons-nous, et demain,L'Internationale,Sera le genre humain. C'est la lutte finaleGroupons-nous, et demain,L'Internationale,Sera le genre humain. Ouvriers, Paysans, nous sommes Le grand parti des travailleurs;La terre n'appartient qu'aux hommes,L'oisif ira loger ailleurs. Combien de nos chairs se repaissent!Mais si les corbeaux, les vautours,Un de ces matins disparaissent,Le soleil brillera toujours! C'est la lutte finaleGroupons-nous, et demain,L'Internationale,Sera le genre humain. C'est la lutte finaleGroupons-nous, et demain,L'Internationale,Sera le genre humain.
$1.99 ≈
1.83€
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95 ≈
10.06€
Ariette Oubliée No 4 for clarinet and classical guitar (mp3)
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András Csáki
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Ariette Oubliée No 4 fo
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David Warin Solomons
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SheetMusicPlus
Clarinet,Guitar - Level 4 - SKU: A0.1506755 By András Csáki (guitar) and Péter Balázs (clarinet). By David Warin Solomons. 21st Century,Contemporary...
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Clarinet,Guitar - Level 4 - SKU: A0.1506755 By András Csáki (guitar) and Péter Balázs (clarinet). By David Warin Solomons. 21st Century,Contemporary. Full Performance. Duration 178. David Warin Solomons #1082126. Published by David Warin Solomons (A0.1506755). Arrangement of Ariette Oubliée No 4 originally written for alto and guitar (also available on this site). The song is based on a poem by Paul Verlaine in which he imagines himself and his boyfriend Rimbaud as two innocent little girls.Original poem:Il faut, voyez-vous, nous pardonner les choses:De cette façon nous serons bien heureusesEt si notre vie a des instants moroses,Du moins nous serons, n`est-ce pas? deux pleureuses.Ô que nous mêlions, âmes soeurs que nous sommes,A nos voeux confus la douceur puérileDe cheminer loin des femmes et des hommes,Dans le frais oubli de ce qui nous exile !Soyons deux enfants, soyons deux jeunes fillesÉprises de rien et de tout étonnéesQui s`en vont pâlir sous les chastes charmillesSans même savoir qu`elles sont pardonnées.Paul Verlaine[literal translation into English]You see, you`ll have to forgive us a few thingsThen we`ll be two happy little girlsAnd if our life is a bit sad at timesat least there will be two of us sobbing together, won`t there?Oh sister souls that we are, wouldn`t we just mingleChildish sweetness with our embarassed vowsTo wander far from the world of adultsAnd forget our banishment in all our fresh innocenceLet`s be two children, two little girlsIn love with nought and astonished by allGoing pale-faced down innocent tree-lined pathsNot even aware that they`ve been forgiven.
$5.00 ≈
4.59€
Selected Works, vol. 1
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Guitare
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Selected Works, vol. 1
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SheetMusicPlus
The present collection is around the idea of paying homage to the people that each piece is dedicated to.El Colibrí (Hummingbird): A meaningful bird within...
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The present collection is around the idea of paying homage to the people that each piece is dedicated to.El Colibrí (Hummingbird): A meaningful bird within Central American indigenous mythology. Dedicated to my good friend and co-author Federico Sheppard, a very special human being with whom I have walked a long journey in a short time, to produce and publish the work of the great Agustín Barrios Mangoré.El Faro refers to the guidance of a lighthouse for the those navigating the sea, the light to point travellers in the right direction. This piece is dedicated to maestro Antonio Rodríguez Delgado, for his unconditional friendship, light, and guidance with the complex journey of our beloved instrument, so that it be used as a tool for self realization.Gratitude is dedicated to maestro Elias Barreiro for his tireless work and contribution to the global guitar practices, additionally, for his genuine friendship.Canción de Cuna is a piece that pretends to reflect the awakening of a new consciousness for humanity, the title (Lullaby) refers to the little person we all have inside.La présente collection est centrée sur l'idée de rendre hommage aux personnes auxquelles chaque pièce est dédiée.El Colibrí (Colibri) : Un oiseau significatif dans la mythologie indigène d'Amérique centrale. Dédicacé à mon bon ami et co-auteur Federico Sheppard, un être humain très spécial avec qui j'ai parcouru un long chemin en peu de temps, pour produire et publier l'œuvre du grand Agustín Barrios Mangoré.El Faro fait référence à la guidance d'un phare pour ceux qui naviguent en mer, la lumière pour orienter les voyageurs dans la bonne direction. Cette pièce est dédiée au maestro Antonio Rodríguez Delgado, pour son amitié inconditionnelle, sa lumière et son guidage dans le voyage complexe de notre instrument bien-aimé, afin qu'il soit utilisé comme un outil de réalisation de soi.Gratitude est dédiée au maestro Elias Barreiro pour son travail inlassable et sa contribution aux pratiques mondiales de la guitare, et en plus, pour son amitié sincère.Canción de Cuna est une pièce qui prétend refléter l'éveil d'une nouvelle conscience pour l'humanité, le titre (Berceuse) se réfère à la petite personne que nous avons tous à l'intérieur de nous
Song List
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El Colibri
El Faro
Gratitud
Cancion De Cuna
$9.95 ≈
9.14€
Jacques Dussouil: "Une Petite Étoile" from Quatre Noëls for SATB mixed chorus
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Chorale SATB
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INTERMÉDIAIRE
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Jacques Dussouil
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Jacques Dussouil: "Une Pe
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.535406 Composed by Jacques Dussouil. Christmas,Contemporary,Sacred. Octavo. 6 pages. Musik Fabrik Music Publishi...
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Choral Choir (SATB) - Level 3 - SKU: A0.535406 Composed by Jacques Dussouil. Christmas,Contemporary,Sacred. Octavo. 6 pages. Musik Fabrik Music Publishing #4283615. Published by Musik Fabrik Music Publishing (A0.535406). Jacques Dussouil was the Titular Organist of the Grand Orgue Boisseau of Notre-Dame de Royan from 1966 until his death in 2016. During his studies at the High School of Poitiers, he was also the student of pianist Hélène d’Ambelle who was herself a student of the great French Pianist Alfred Cortot. It was his work with Jean-Albert Villard, the organist of the Cliquot organ of the Cathedral of Poitiers which would determine his vocation as an organist. Jacques Dussouil continued his studies in Paris with Noëlie Pierront and especially with Edouard SouberbielleHis duties at the Royan Cathedral lead him to also become a choral director and composer, founding one of the best Cathedral Choirs in France which he directed for many years. This activity lead to the compostion of a large number of sacred works, including his Mass in D for two organs and Chorus.2. Une Petite Étoile1. Une petite étoile est née, Petite étoile de Judée.Elle a illuminé le ciel, Chantons l’enfant qui nous est né.Noël, Noël, éclaire-moi, Cloches en chœur, sonnez la joieEt qu’à travers toute la terre, La paix inonde l’univers.2. Une petite étoile est née, Mon cœur s’est mis à espérerQue la haine et l’indifférenceSeront vaincues par l’espéranceNoël, Noël, éclaire-moi, Cloches en chœur, sonnez la joieEt qu’à travers toute la terre, La paix inonde l’univers.3. Une petite étoile est née, Nos larmes ont cessé de couler, Car Dieu nous a fait le cadeauD’un fant que je vois si beau.Noël, Noël, éclaire-moi, Cloches en chœur, sonnez la joieEt qu’à travers toute la terre, La paix inonde l’univers.
$1.99 ≈
1.83€
Jacques Dussouil: "La nuit s’étend sur la terre" from Quatre Noëls for SATB mixed chorus
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Chorale SATB
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INTERMÉDIAIRE
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Noël
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Jacques Dussouil
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Jacques Dussouil: "La nui
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.535405 Composed by Jacques Dussouil. Christmas,Sacred. Octavo. 6 pages. Musik Fabrik Music Publishing #4283611. ...
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Choral Choir (SATB) - Level 3 - SKU: A0.535405 Composed by Jacques Dussouil. Christmas,Sacred. Octavo. 6 pages. Musik Fabrik Music Publishing #4283611. Published by Musik Fabrik Music Publishing (A0.535405). Jacques Dussouil was the Titular Organist of the Grand Orgue Boisseau of Notre-Dame de Royan from 1966 until his death in 2016. During his studies at the High School of Poitiers, he was also the student of pianist Hélène d’Ambelle who was herself a student of the great French Pianist Alfred Cortot. It was his work with Jean-Albert Villard, the organist of the Cliquot organ of the Cathedral of Poitiers which would determine his vocation as an organist. Jacques Dussouil continued his studies in Paris with Noëlie Pierront and especially with Edouard SouberbielleHis duties at the Royan Cathedral lead him to also become a choral director and composer, founding one of the best Cathedral Choirs in France which he directed for many years. This activity lead to the compostion of a large number of sacred works, including his Mass in D for two organs and Chorus.1. La nuit s’étend sur la terre1. La nuit s’étend sur la terre, Il fait si-lence au dehorsAbandon-nous nos misères à qui bon souffrir encore?Toi qui pleures, et te lamentes, Prends espoir et te réveille.Ne res-te plus dans l’attente, viens voir l’en-fant qui sommeille.2. Oubliez peines et larmes, Et si vous souffrez encoreSoyez émus par les charmesDe cet enfant qui s’endortNoël enlève nos doutes,Joies passées, joies espérées,Létoile éclaire ma routeoù m’aide ce nouveau-né3. Oubliez ce qui nous blesseQue cesent nos trahisons!Que Noël soit jour de liesse,Qu’un enfant soit notre union.Que tous ceux qui se rassemblentVoyant nos cœurs rejouir.Nous aides à bâtir ensembleUn monde qui nous unit.
$1.99 ≈
1.83€
Mendelssohn, Félix : Barcarolle n°12 Opus 30 (Collection Anacrouse)
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Piano seul
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Chanson Française
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Mendelssohn, Félix
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Barcarolle n°12 Opus 30
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Note4Piano
La collection ANACROUSE offre aux pianistes novices et confirmes un large choix d’œuvres classiques, allant de la Renaissance à l’epoque moderne.<...
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La collection ANACROUSE offre aux pianistes novices et confirmes un large choix d’œuvres classiques, allant de la Renaissance à l’epoque moderne.<br><br>Proposer tout à la fois des « incontournables » du repertoire classique et des pièces de compositeurs parfois oublies, toutes d’une valeur pedagogique indeniable, tels sont les objectifs que nous nous sommes fixes. Chaque pièce, vendue à l’unite, a fait l’objet d’un travail editorial attentif, tant sur le plan de l’etablissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tires du commerce frequent de ces œuvres.<br><br>Les partitions sont proposees sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles egalement par telechargement.<br><br><br><br>Les celèbres romances sans paroles (Lieder ohne worte) de Felix Mendelssohn sont des pièces raffinees, melancoliques et brèves pour piano. Ses Quarante huit romances reparties dans huit cahiers sont creees au fil de sa vie dans les moments rares de solitude. Elles sont les reflets d’une page d’album sentimental de son quotidien. Six des huit cahiers sont publies à partir de 1832 en huit fascicules par les soins du compositeur, chez l’editeur londonien Novello. Les deux dernières paraîtront après sa mort. Quelques unes ont une appellation comme Morceau pour enfants, Marche funèbre, Chant du gondolier venitien, Chant du printemps, Chant du devidoir, Chant populaire, Chant du chasseur. L'opus 30 est dedie à Elise Von Woringen. Il est le deuxième recueil de romances sans paroles. Il comprend six petits morceaux très poetiques comme dans l'opus 19, representant le premier cahier, qui est l'un des plus connus. Compose entre 1833 et 1834 à Dusseldörf, ce deuxième cahier est edite à Paris en 1835 chez Mori et Lavenu. La parution des six autres romances de Mendelssohn a reçu un très bon accueil en Allemagne par ses contemporains, ce qui a suggere à Schumann d'ecrire une très belle critique dans son journal, la Neue Zeitschrift für Musik : « Qui ne s'est jamais assis au crepuscule devant un piano droit ( un piano à queue ferait trop ceremonieux) et n'a chante inconsciemment, en pleine improvisation, une douce melodie ? Si l'on peut par hasard lier aux deux mains l'accompagnement et la melodie, et surtout si l'on est un Mendelssohn, alors naissent les plus belles romances sans paroles ... C'est limpides comme le soleil qu'elles se presentent à nos regards ». La Romance sans parole n°12 « Allegretto Tranquillo » est intitulee aussi Barcarolle. Son ecriture pianistique nous amène toujours à vouloir chanter le thème principal qui est proche de l'ecriture du lieder. Sa structure formelle est elle même composee comme un lied : ABA. Elle se distingue par un chant très pur d'une grande expressivite ce qui nous evoque l'idee d'un air de gondolier venitien. A 6/8, en tonalite de fa dièse mineur, la melodie flotte sur un rythme ternaire qui donne un effet de tourbillon langoureux par l'utilisation d'innombrables ornementations vocales. Cette romance achève le recueil, mais finalement nous ouvre les portes de notre imaginaire où l'on peut entrevoir une libre promenade sur les eaux. Partition + Biographie + Notes sur l'oeuvre
3.30€
Chopin, Frédéric : Nocturne n°20 Opus posthume (Collection Anacrouse)
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Piano seul
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Chanson Française
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Chopin, Frédéric
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Nocturne n°20 Opus posthume
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Note4Piano
La collection ANACROUSE offre aux pianistes novices et confirmes un large choix d’œuvres classiques, allant de la Renaissance à l’epoque moderne.<...
(+)
La collection ANACROUSE offre aux pianistes novices et confirmes un large choix d’œuvres classiques, allant de la Renaissance à l’epoque moderne.<br><br>Proposer tout à la fois des « incontournables » du repertoire classique et des pièces de compositeurs parfois oublies, toutes d’une valeur pedagogique indeniable, tels sont les objectifs que nous nous sommes fixes. Chaque pièce, vendue à l’unite, a fait l’objet d’un travail editorial attentif, tant sur le plan de l’etablissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tires du commerce frequent de ces œuvres.<br><br>Les partitions sont proposees sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles egalement par telechargement.<br><br><br><br>Le terme Nocturne a un sens different suivant les epoques. Au 17ème et au 18ème siècle, c’est une pièce de musique de chambre, instrumentale ou vocale qui convient au jeu en plein air ou à une interpretation nocturne. Au 19ème siècle, le createur du « nocturne pour piano » au sens technique est le compositeur irlandais John Field. Ces nocturnes sont des morceaux elegants avec une melodie simple, nostalgique et meditative. Chopin adopte cette appellation et son idee generale pour ces phrases poetiques à l’accompagnement developpe et cadence. Il ecrit vingt et un nocturnes qui ont contribue à developper sa celebrite. Le nocturne n° 20 en ut dièse mineur compose en 1830 est une pièce d’une grande originalite dans l’alliance du sentiment et de l’esprit. C’est une pièce beaucoup moins condensee que les autres nocturnes mais qui nous fait ressentir une beaute qui nous ensorcelle. Cette œuvre a ete trouvee parmi les papiers du compositeur après sa mort et a ete editee seulement 26 ans plus tard. Il utilise dans son œuvre la notation d’un thème pris à son concerto pour piano en fa mineur, pièce anterieure. Dans la première version, qu’il abandonne plus tard, la melodie est composee sur une mesure à 3/4 comme dans le concerto avec un accompagnement à 4/4, mesure qui domine dans le nocturne. Cette notation est très etonnante pour les annees 1830, cependant la façon de combiner des tempi differents se developpe surtout au 20ème siècle. Chopin nous confie une partie de son journal intime à travers ces pages melancoliques, d’une sensibilite communicative. Les pianistes romantiques pourront naturellement expimer leurs etats d’âme à travers ce nocturne d’une grande expressivite. Partition + Biographie + Notes sur l'oeuvre
3.30€
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