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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Quatuor à cordes: 2 violons, alto, violoncelle
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Above All
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Partitions à imprimer
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All Or Nothing At All
Instruments en Do
C Instrument - Level 5 - Digital Download SKU: A0.1348022 By Frank Sinatra w/Harry …
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C Instrument - Level 5 - Digital Download SKU: A0.1348022 By Frank Sinatra w/Harry James Orchestra. By Arthur Altman and Jack Lawrence. Arranged by Rob Ames. Jazz. Lead Sheet / Fake Book. 6 pages. Rob Ames #932839. Published by Rob Ames (A0.1348022). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase.  Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN.  Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.Melodies often written in straight rhythm in standard fake books have been rewritten in a swing style, or “As Played By†some of the all-time jazz greats. Some of the tunes have been transposed from their standard fake book keys to an easier, better-sounding key for Bb saxophone.Slurs have been added to all the Bb parts for smooth and consistent jazz articulation on the Bb saxophone. A duplicate Bb part, without the slurs, is also included (marked with an asterisk for Bb* Instruments), for Bb players who would prefer to customize their own articulation.All tunes have been vetted for playability and accuracy.The arranger, Rob Ames, is a soprano saxophone player from New Hampshire and the Boston, MA area. His album of original tunes, “Sounds From the Boardwalkâ€, is widely available.
£4.26
$4.99
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Instruments en Do
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Frank Sinatra w/Harry James Orchestra
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Rob Ames
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All Or Nothing At All
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Rob Ames
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SheetMusicPlus
Stormy Weather (keeps Rainin' All The Time)
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893381 Composed by Harold Ar…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893381 Composed by Harold Arlen. Arranged by Rob Ames. Contemporary. Score. 3 pages. Rob Ames #6355293. Published by Rob Ames (A0.893381). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN. Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.
£4.26
$4.99
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Piano, Voix
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Harold Arlen
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Rob Ames
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Stormy Weather
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Rob Ames
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SheetMusicPlus
All The Things You Are
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893248 By Jack Leonard with …
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893248 By Jack Leonard with Tommy Dorsey Orchestra. By Jerome Kern. Arranged by Rob Ames. Contemporary. Score. 3 pages. Rob Ames #6204855. Published by Rob Ames (A0.893248). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN. Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.
£4.26
$4.99
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Piano, Voix
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Jack Leonard with Tommy Dorsey Orchestra
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Rob Ames
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All The Things You Are
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Rob Ames
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SheetMusicPlus
All Of Me
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893247 Composed by Gerald Ma…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893247 Composed by Gerald Marks and Seymour Simons. Arranged by Rob Ames. Contemporary. Score. 3 pages. Rob Ames #6204853. Published by Rob Ames (A0.893247). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN. Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.
£4.26
$4.99
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Piano, Voix
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Gerald Marks and Seymour Simons
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Rob Ames
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All Of Me
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Rob Ames
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SheetMusicPlus
All Of The Girls You Loved Before
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1217670 By Taylor Swift. By Adam Ki…
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Piano Solo - Level 5 - Digital Download SKU: A0.1217670 By Taylor Swift. By Adam King Feeney, Louis Bell, Matthew Tavares, and Taylor Swift. Arranged by AJ Tan. Contemporary,Pop,Singer/Songwriter,Wedding. Score. 4 pages. AJTanPiano #812492. Published by AJTanPiano (A0.1217670). All of the Girls You Loved Before is an outtake of Taylor Swift's seventh studio album, Lover (2019). This piano solo version contains labeled sections, lyrics, chord symbols, and the complete song form. It could be an excellent song choice for learning compound meter rhythm and playing love ballads. Suitable for grade 4 and above level learning.
£4.26
$4.99
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Piano seul
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Taylor Swift
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AJ Tan
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All Of The Girls You Loved Before
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AJTanPiano
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SheetMusicPlus
I Really Want To Stay At Your House
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1123423 By Rosa Walton With Hallie …
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Piano Solo - Level 5 - Digital Download SKU: A0.1123423 By Rosa Walton With Hallie Coggins. By Rosa Walton. Arranged by AJ Tan. Contest,Festival,Film/TV,Pop,Rock,Video Game. Score. 4 pages. AJTanPiano #724234. Published by AJTanPiano (A0.1123423). I Really Want to Stay at Your House is a song by British singer Rosa Walton written for the 2020 video game Cyberpunk 2077, recorded in Cyberpunk 2077: Radio, Vol. 2 (Original Soundtrack) album. It is featured in the fictional radio station 98.7 Body Heat Radio and the anime series Cyberpunk: Edgerunners.Suitable for Grade 6 and above's learning.
£4.26
$4.99
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Piano seul
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Rosa Walton With Hallie Coggins
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AJ Tan
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I Really Want To Stay At Your House
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AJTanPiano
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SheetMusicPlus
Silvius Leopold Weiss Suite 5 Allemande
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.1168958 By S.L. Weiss. By S.L. Wei…
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Solo Guitar - Level 5 - Digital Download SKU: A0.1168958 By S.L. Weiss. By S.L. Weiss. Arranged by Benjamin Grace. Baroque. Individual part. 2 pages. Benjamin Grace #769303. Published by Benjamin Grace (A0.1168958). This suite encompasses deep, dark, and meloncholic overtones with rich harmonies which underlie the delicate and sombre like melodies above. Originally written in the key of C minor for the Lute. This work is arranged for the classical guitar in the key of D minor.
£3.4
$3.99
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Guitare
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S
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Benjamin Grace
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Silvius Leopold Weiss Suite 5 Allemande
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Benjamin Grace
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SheetMusicPlus
Rondo Alla Turca (Mozart's Turkish March)
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.759652 Composed by Wolfgang Amadeus…
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Piano Solo - Level 5 - Digital Download SKU: A0.759652 Composed by Wolfgang Amadeus Mozart. Arranged by edit - AJ Tan. Classical,Standards. Score. 3 pages. AJTanPiano #5359855. Published by AJTanPiano (A0.759652). Written by the famous classical music prodigy-- Wolfgang Amadeus Mozart, Rondo Alla Turca is the 3rd movement from Sonata No.11 in A major, K.331. The notation is the same as the original edition. However, in this edition, the music is reduced to 3 pages. Suitable for advanced level students (Grade 5 and above).
£1.7
$1.99
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Piano seul
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Wolfgang Amadeus Mozart
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edit - AJ Tan
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Rondo Alla Turca
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AJTanPiano
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SheetMusicPlus
Jésus appelle "Jesus is calling"
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1025134 Composed by Dimpan…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1025134 Composed by Dimpanga Bakisi Simon. Christian,Gospel,Praise & Worship,Sacred. Octavo. 3 pages. Simon Dimpanga #4348985. Published by Simon Dimpanga (A0.1025134). Worship and salvation song for Christians, Choirs, Worship-Bands and aboveThis a french version that you can translate in english.
£2.13
$2.50
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Chorale SATB
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Dimpanga Bakisi Simon
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Jésus appelle "Jesus is calling"
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Simon Dimpanga
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SheetMusicPlus
From Above, One World
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.1359744 Composed by J. Abelardo D…
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Concert Band - Level 5 - Digital Download SKU: A0.1359744 Composed by J. Abelardo D. Flores. 21st Century. 36 pages. JADF Publications #944220. Published by JADF Publications (A0.1359744). Upon seeing the planet Earth from space, astronauts have reportedly experienced a self-transcendental awe at the realization that all humanity share common ground, as it were. This prelude for concert band attempts to depict that feeling of triumph at our conquest of space, combined with a humility about our place in the vast universe.
£51.17
$60.00
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Orchestre d'harmonie
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J
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From Above, One World
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JADF Publications
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SheetMusicPlus
From Heaven Above
Piano seul
Piano - Advanced - Digital Download SKU: LX.70-2362L Glorious Hymns of the Refor…
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Piano - Advanced - Digital Download SKU: LX.70-2362L Glorious Hymns of the Reformation Era. Arranged by Larry Shackley. Sacred. Church Piano. 40 pages. Lorenz Publishing - Digital Sheet Music #e70/2362L. Published by Lorenz Publishing - Digital Sheet Music (LX.70-2362L). Larry Shackley sets his sights on hymns stemming from the Reformation in the superb new collection. Featuring well-known hymns as well as musical gems that might be less familiar to many contemporary congregations, pianists will relish every page. Larry's arrangements, crafted for the advanced pianist, feature all of the trademarks of his arranging style, including jazz harmonies as well as classical and contemporary stylings.
£19.57
$22.95
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Piano seul
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Larry Shackley
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From Heaven Above
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Trumpet Shall Sound from "The Messiah" for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.810934
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.810934 Composed by Handel, G. F. Arranged by Cherry, Gordon. Baroque,Christmas,Easter,Sacred. 29 pages. Gordon Cherry #3916889. Published by Gordon Cherry (A0.810934). One of the most famous movements from The Messiah, features the Bb Trumpet and Tuba, Trombone or Euphonium on the solo parts. The bass part goes up to a high C above the staff several times, so the tuba must have a good high register. The trombone and tuba solo parts can be switched and the trombonist from the quintet can play the solo bass part on tenor trombone, bass trombone or Euphoniums. The tuba can then move to the trombone part, which is a low part anyway. This work is in the key of Bb, down a 3rd from the original and very playable. This transcription comes in two keys; the original in D (high) or in Bb (lower). In the lower key it can be played on Bb trumpet and is much easier on the solo bass part if played by the tubist. If played in the original key, an optional organ part can be added to the quintet for a very symphonic effect. This work is a must on a Brass Quintet Christmas or Easter Concert.
£19.19
$22.50
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Handel, G
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Cherry, Gordon
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Trumpet Shall Sound from "The Messiah" for Brass Quintet
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Gordon Cherry
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SheetMusicPlus
To God All Praise and Glory
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1130147 Composed by 16th c. German …
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Piano Solo - Level 5 - Digital Download SKU: A0.1130147 Composed by 16th c. German hymn tune MIT FREUDEN ZART. Arranged by arr. P. F. Tillen. Christian,Classical,Praise & Worship,Religious,Sacred. Score. 3 pages. PFTMusic #730509. Published by PFTMusic (A0.1130147). This sturdy German hymn tune from the Reformation era is found in many hymnals, with the texts, With High Delight Let Us Unity, Sing Praise to God Who Reigns Above, and others. It is arranged here for solo piano in a style reminiscent of the piano works of Schumann and Mendelssohn, and ends with a quote from Mendelssohn's Children's Piece, Op. 72. Accessible for a good intermediate or advanced player, and is suitable for general worship, or as a recital selection. Please check for more piano music, sacred and secular choral and vocal selections, and arrangements for instrumental ensembles.
£5.96
$6.99
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Piano seul
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16th c
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arr
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To God All Praise and Glory
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PFTMusic
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SheetMusicPlus
Hommages and Prelude No. 1
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 20th Century,21st Century,Classical,Romantic Period. Score. 178 pages. David Fraser #968350. Published by David Fraser (A0.1383996). This volume contains five solo piano pieces expertly crafted and meticulously edited for accuracy. Advanced pianists will welcome the technical challenges and heights of musicality these works require. Music terminology for â??Le Cygne noirâ?? and â??L'océanâ?? are in French, with regard to the dedications of these pieces. All other works use conventional music terminology in Italian. 178 pages. ISMN 979-0-800277-00-9.David Fraser wrote the first 41 measures of â??Rhapsody No. 1â?? in 1997 and subsequently completed this piece and all other works in this volume over the course of six months in 2019. When playing the original 41 measures of â??Rhapsody No. 1â?? in 2019, Fraser noted that the music had some resemblance to works by Sergei Rachmaninoff. This encouraged Fraser to compose the remainder of this piece in a manner reminiscent of Rachmaninoff and, consequently, author a suite of solo piano pieces as homages to some of his favorite composers. In Rachmaninoffâ??s famous â??Rhapsody on a Theme of Paganini, Op. 43â??, variation 18, the composer uses an upside-down inversion of a small melody by Paganini. Similarly, Fraser uses a backwards inversion of a small melody from Rachmaninoffâ??s variation for the Rhapsodyâ??s â??Adagioâ? section, which starts on Page 3.Le Cynge noir {The Black Swan} is the second piece Fraser authored, dedicated to his beloved piano composer, Maurice Ravel. In this piece, Fraser wrote in his own style while evoking images such as a swan gliding on a lake, peering at its reflection in the water, and taking flight into the clouds with its wings rustling in the wind. Fraser gleaned inspiration for this piece from Ravelâ??s song for voice and piano â??Histoires naturelles - Le cygneâ??, set to a poem by Jules Renard. In addition, Fraser alternates between the keys of C-sharp major and A major as a depiction of the magical swanâ??s internal conflict in choosing to exist as a black or white swan.Fraserâ??s third composition is â??Sonata No.1 Gothicâ??, dedicated to Sergei Prokofiev, not as a representation of this genre of music, but in form. Specifically, Fraser uses a similar structure in Movement 1, starting at Measure 72 marked â??più mosso e con abbandonoâ?, to the notoriously difficult â??colossaleâ? section of Prokofievâ??s â??Piano Concerto No. 2, Op. 16â??, Movement 1. The sonataâ??s Movement 3 also follows a structure parallel to Movement 4 of Prokofievâ??s aforementioned piano concerto, employing fiendishly challenging syncopated jumps in both hands. Written in ternary form, Movements 1 and 3 of Fraserâ??s sonata are in C minor; Movement 2 is in E-flat minor, instead of the expected relative or dominant key. This work has explosive sentiments of rage that elicit a sense of immensity and darkness, touching on the macabre yet maintaining an alluring nature. The fourth piece of this suite, â??L'océan {The Ocean}â?? dedicated to Claude Debussy, uses whole-tone scales throughout as lyrical motifs. The composition unfolds with the allusion of the sun glimmering on ocean waves, followed by the playfulness of eddies and gusts of wind. These themes merge into one another as the wind increases in ferocity, culminating in the start of a storm with sudden strikes of lightning preceded by the reverberation of thunder. The pitter-patter of rain on the water steadily evolves into a full tempest that engulfs the middle section of the piece. As the storm subsides and the ocean calms, night has fallen and the twinkling of stars in the firmament are reflecting upon the water. The piece ends with the return of the opening theme as the sun swiftly rises above the ocean on the horizon.Prelude No. 1 L'adieu {The Farewell} offers rich and lush harmonies with an enticing melody. This piece was written in memoriam to Fraser's mother.
£25.58
$29.99
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Piano seul
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David Fraser
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Hommages and Prelude No. 1
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David Fraser
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SheetMusicPlus
In the Bleak Midwinter
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1125813 By Michael Swedberg. By Gus…
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Piano Solo - Level 5 - Digital Download SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726553. Published by Niska Music Publishing (A0.1125813). Another arrangement that had its genesis as a vocal chart for Five By Design. However, this piece went on to be performed in our holiday show, “A Winter’s Evening.†I have always loved the Gustav Holst melody to Christina Rossetti’s poem, subsequently it was that setting that I chose to arrange for our group. When I was selecting pieces for my second collection of Christmas Preludes, I knew this would be among them. The piece starts out quite gently, and in my mind’s ear I hear a cello and oboe establishing a mood of utter serenity and calm as the snow gently falls outside the frost-covered window. Soon the oboe is joined by a clarinet as they play a duet while the cello continues the gentle sway of eighth notes. For the pianist, there must be great control of the left hand to keep it as calm as possible while the melody floats above, just as the snow falls to the earth. As the second verse begins, the right hand now plays a triplet pattern beneath the melody. It is a gentle breeze, stirred by the wings of angels and cherubim, upon which the crystalline flakes swirl and dance in the cold night air. All the while the left hand continues its steady motion of eighth notes. Halfway through the triplet pattern moves to the left hand and the right hand takes up the eighth notes while still keeping the melody above all. The verse comes to a close with a slowing of the tempo to emphasize the importance of what the poet states in the last lines of the poem: “Yet what I can I give Him, — Give my heart.†It is all that any of us can do, and all that we are asked to do.
£3.4
$3.99
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Piano seul
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Michael Swedberg
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Terrence Niska
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In the Bleak Midwinter
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Niska Music Publishing
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SheetMusicPlus
The Jitterbug Waltz (vocal)
Instruments en Do
C Instrument - Level 5 - Digital Download SKU: A0.1281612 Composed by Charles R Gre…
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C Instrument - Level 5 - Digital Download SKU: A0.1281612 Composed by Charles R Grean, Maxine Manners, and Thomas Fats Waller. Arranged by Rob Ames. Jazz. Lead Sheet / Fake Book. 3 pages. Rob Ames #872955. Published by Rob Ames (A0.1281612). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN.  Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.Melodies often written in straight rhythm in standard fake books have been rewritten in a swing style, or “As Played By†some of the all-time jazz greats. Some of the tunes have been transposed from their standard fake book keys to an easier, better-sounding key for Bb saxophone.Slurs have been added to all the Bb parts for smooth and consistent jazz articulation on the Bb saxophone. A duplicate Bb part, without the slurs, is also included (marked with an asterisk for Bb* Instruments), for Bb players who would prefer to customize their own articulation.All tunes have been vetted for playability and accuracy.The arranger, Rob Ames, is a soprano saxophone player from New Hampshire and the Boston, MA area. His album of original tunes, “Sounds From the Boardwalkâ€, is widely available.
£4.26
$4.99
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Instruments en Do
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Charles R Grean, Maxine Manners, and Thomas Fats Waller
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Rob Ames
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The Jitterbug Waltz
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Rob Ames
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SheetMusicPlus
Brazil
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1217783 By The Ritchie Family. By A…
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Piano Solo - Level 5 - Digital Download SKU: A0.1217783 By The Ritchie Family. By Ary Barroso and S.K. Russell. Arranged by Timothy Stapay/Liberace. Film/TV,Jazz,Latin,Singer/Songwriter,Standards. Score. 6 pages. Timothy Stapay #814316. Published by Timothy Stapay (A0.1217783). This arrangement of Brazil is written as performed by famous piano artist, Liberace. This is the same version that he performed on his emmy-award winning TV. show and in concerts around the world.Aquarela do Brasil (Portuguese: [akwaˈɾɛlÉ du bɾaˈziw], 'Watercolor of Brazil'), written by Ary Barroso in 1939 and known in the English-speaking world simply as Brazil, is one of the most famous Brazilian songs. Ary Barroso wrote Aquarela do Brasil in early 1939, when he was prevented from leaving his home one rainy night due to a heavy storm. Its title, a reference to watercolor painting, is a clear reference to the rain. He also wrote Três lágrimas (Three Teardrops) on that same night, before the rain ended.Describing the song in an interview to Marisa Lira, of the newspaper Diário de NotÃcias, Barroso said that he wanted to free the samba away from the tragedies of life, of the sensual scenario already so explored. According to the composer, he felt all the greatness, the value and the wealth of our land, reliving the tradition of the national panels.WÅ‚adziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!Lyrics:Brazil, where hearts were entertaining JuneWe stood beneath an amber moonAnd softly murmured Someday soonWe kissed and clung togetherThen, tomorrow was another dayThe morning found me miles awayWith still a million things to sayNow, when twilight dims the skies aboveRecalling thrills of our loveThere's one thing I'm certain ofReturn, I will, to old BrazilThen, tomorrow was another dayThe morning found me miles awayWith still a million things to sayNow, when twilight dims the sky aboveRecalling thrills of our loveThere's one thing that I'm certain ofReturn, I will, to old BrazilThat old BrazilMan, it's old in BrazilBrazil, Brazil
£7.67
$8.99
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Piano seul
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The Ritchie Family
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Timothy Stapay/Liberace
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Brazil
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Timothy Stapay
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
£20.46
$23.99
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Fair Katrinelje and Pif-Paf-Poltrie (from the Brothers Grimm Song Cycle)
Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331…
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Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Soundtrax #11219. Published by Novel Soundtrax (A0.800331). This work by Sarah Wallin is a vocal text setting for soprano, flute, cello, and piano, completed in 2008. According to Dr. Edward David Zeliff, Fair Katrinelje... is very interesting, clever, witty, and captures the quirky little scenario of this poor fellow trying so hard to line up a bride by having to go through the firewall of her entire family and then having enough umph left over to get her attention as well. It's very Stravinskyish, and the charm and humor comes through. The story of Fair Katrinelje and Pif-Paf-Poltrie is a lesser-known fairy tale found in the Children's and Household Tales of Jacob and Wilhelm Grimm, the famous Brothers Grimm. Fair Katrinelje and Pif-Paf-Poltrie is a comedic dialogue. Our hero, Pif-Paf-Poltrie, is out to seek the hand of his beloved, the Fair Katrinelje, in marriage. Being the gentleman that he is, he approaches in turn each member of his beloved's family to ask their permission. Father Hollenthe, Mother Malcho, Brother High-and-Mighty, and Sister Käsetraut all respond in turn similarly – essentially, If it's all right with everyone else, it's all right with me. The challenge for the vocalist is to convey the essence and the hilarity of the dialogue by highlighting, with the mannerisms of the voice, the attitudes and characteristics of each character speaking. Above each character's lines, it is made clear whom it is that is speaking and the emotional context within which it is being spoken. The vocalist has complete freedom to effect these roles in whatever manner and to whatever degree is deemed appropriate, provided the musical integrity of the work is kept intact.
£12.79
$15.00
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Sarah Wallin Huff
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Fair Katrinelje and Pif-Paf-Poltrie
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Novel Soundtrax
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SheetMusicPlus
Loquebantur, -bantur, -bantur
Chorale SATB
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1402556…
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1402556 Composed by Thomas Tallis. Arranged by John Ross. 21st Century,A Cappella,Religious,Renaissance,Sacred. 45 pages. John Ross #985777. Published by John Ross (A0.1402556). “Loquebantur, -bantur, -bantur†is based on 'Loquebantur variis linguis' by Thomas Tallis. The words are from the responsory for 1st Vespers at Pentecost and tell of the Apostles beginning to speak in many tongues, proclaiming the great works of God. In this reworking, vocal parts gradually move away from the Tallis original, taking musical ideas from the soprano saxophone part and “speaking in tonguesâ€. The opening interplay between sax and solo tenor uses notes from the Intonation, creating the “-bantur, -bantur†figure which gives this arrangement its title. As the piece proceeds individual vocal lines gradually speak in the tongues suggested by the sax. By the end, the joyful combination of many musical ideas is crowned by the ecstatic saxophone part. The “tongues†ideas are shown in the score by added phrasing and by using lyrics in italics. These fragments should be sung a little more prominently, allowing them to pop out above the overall texture. An additional tenor line has been added, making the piece’s scoring SSAATTBB plus saxophone.
£1.7
$1.99
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Chorale SATB
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the end, the joyful combination of many musical ideas is crowned by the ecstatic saxophone part
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Thomas Tallis
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John Ross
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Loquebantur, -bantur, -bantur
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John Ross
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SheetMusicPlus
Canto III.1 for Soprano and Bass Clarinets
2 Clarinettes (duo)
Instrumental Duet Bass Clarinet,Instrumental Duet - Level 5 - Digital Download SKU: A0.…
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Instrumental Duet Bass Clarinet,Instrumental Duet - Level 5 - Digital Download SKU: A0.913608 Composed by James Marshall. 20th Century,World. Score and parts. 2 pages. James Marshall Music #3410345. Published by James Marshall Music (A0.913608). Cantos (I-IX) were composed in 1977 and revised in 2017.They are for solo clarinet or bass clarinet for all levels: student, leisure playing, andconcert. Although they were originally used with school students in the Greater Dallasarea, they are intended for concert and leisure playing also. Each Canto (song) has aunique melodic ambience and musical palate. Canto III.1 (Three-point one) extends the rangeabove the break creating an expanded musical sound as well as technical challenge.small set of songs.
£2.55
$2.99
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2 Clarinettes (duo)
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James Marshall
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Canto III.1 for Soprano and Bass Clarinets
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James Marshall Music
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SheetMusicPlus
So Nice (summer Samba)
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893345 By Walter Wanderley. …
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.893345 By Walter Wanderley. By Marcos Valle and Paulo Sergio Valle. Arranged by Rob Ames. Contemporary. Score. 3 pages. Rob Ames #6273875. Published by Rob Ames (A0.893345). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN. Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.
£4.26
$4.99
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Piano, Voix
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Walter Wanderley
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Rob Ames
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So Nice
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Rob Ames
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SheetMusicPlus
The Fire of Innocence in the Darkness of the World
Soloists (CtTTBB), men's choir and organ - difficult - Digital Download SKU: S9.Q22589
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Soloists (CtTTBB), men's choir and organ - difficult - Digital Download SKU: S9.Q22589 Symphonic Poem for Solo Singers (CtTTBB), Male Choir and Organ. Composed by Enjott Schneider. This edition: score. Downloadable, Score. Duration 30 minutes. Schott Music - Digital #Q22589. Published by Schott Music - Digital (S9.Q22589). English.William Blake was a highly versatile universal genius – poet, painter, copper engraver and philosopher – who in the face of the rationally based Enlightenment put the worship of ecstasy, energy, intuition and imagination above all reason. He was inspired by a vision of the prophet Ezekiel as a child and went on to construct a creative cosmos consisting of myths, opposing forces and uninhibited psychic painting. Misunderstood by his contemporaries, he only began to be rediscovered at the beginning of the twentieth century, for example by W. B. Yeats, and subsequently also during the 1960s by various figures including the “beat poets†associated with Allen Ginsberg, filmmakers and numerous modern poets. Enjott Schneider.
£25.58
$29.99
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Enjott Schneider
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The Fire of Innocence in the Darkness of the World
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Schott Music - Digital
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SheetMusicPlus
Epic Etudes
Cor
Horn in F - Advanced - Digital Download Composed by Adrian Hallam. Method, Etudes and…
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Horn in F - Advanced - Digital Download Composed by Adrian Hallam. Method, Etudes and Exercises, Repertoire, Technique Training, Recital. Solo Part. 22 pages. Published by Adrian Hallam
20 of the most Epic high, Epic low, Epic fast, Epic slow Etudes ever! Covering four octaves and an Epic array of techniques, Epic Etudes will give you an Epic workout! You will be asking yourself "Where have these been all my Epic life?" These Epic Etudes can also be performed as solo items. Epic Etudes are composed for students of 8th Grade and above, standard. (AMEB/ Trinity UK).
£17.06
$20.00
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Cor
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Adrian Hallam
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Epic Etudes
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Adrian Hallam
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SheetMusicPlus
Tell Me A Bedtime Story
Instruments en Do
C Instrument - Level 5 - Digital Download SKU: A0.1431780 By Herbie Hancock. By Her…
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C Instrument - Level 5 - Digital Download SKU: A0.1431780 By Herbie Hancock. By Herbie Hancock. Arranged by Rob Ames. Jazz. Lead Sheet / Fake Book. 12 pages. Rob Ames #1012253. Published by Rob Ames (A0.1431780). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. This tune also includes a bonus lead sheet for Bass. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN. Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.Melodies often written in straight rhythm in standard fake books have been rewritten in a swing style, or “As Played By” some of the all-time jazz greats. Some of the tunes have been transposed from their standard fake book keys to an easier, better-sounding key for Bb saxophone.Slurs have been added to all the Bb parts for smooth and consistent jazz articulation on the Bb saxophone. A duplicate Bb part, without the slurs, is also included (marked with an asterisk for Bb* Instruments), for Bb players who would prefer to customize their own articulation.All tunes have been vetted for playability and accuracy.The arranger, Rob Ames, is a soprano saxophone player from New Hampshire and the Boston, MA area. His album of original tunes, “Sounds From the Boardwalk”, is widely available.
£4.26
$4.99
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Instruments en Do
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Herbie Hancock
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Rob Ames
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Tell Me A Bedtime Story
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Rob Ames
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SheetMusicPlus
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