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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
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PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
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AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
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FILM - TV
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Non classifié
812
PIANO & CLAVIERS
Piano seul
602
Piano Facile
133
Orgue
81
Piano, Voix
36
Accompagnement Piano
23
1 Piano, 4 mains
15
Piano (partie séparée)
9
Piano, Voix et Guitare
7
Piano Trio: piano, violon, violoncelle
7
2 Pianos, 4 mains
4
Instruments en Do
3
Orgue, Piano (duo)
3
Ensemble d'Accordéons
2
Clavecin
1
Accordéon
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue, Trompette (duo)
1
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GUITARES
Guitare
44
Guitare (partie séparée)
12
Guitare notes et tablatures
7
2 Guitares (duo)
5
Piano, Guitare (duo)
3
Banjo
2
Basse electrique
2
4 Guitares (Quatuor)
2
Ligne De Mélodie, (Paroles) et Accords
2
3 Guitares (trio)
1
Mandoline, Piano (duo)
1
Instrumentations suivantes
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VOIX
Chorale SATB
448
Chorale 3 parties
177
Chorale 2 parties
93
Chorale Unison
57
Chorale TTBB
35
Chorale SSAA
24
Voix Baryton, Piano
7
Chorale SSATB
6
Voix Soprano, Piano
4
Voix duo
3
Voix seule
3
Voix Tenor, Piano
2
Voix Alto, Piano
2
Voix duo, Piano
1
Voix Tenor
1
Chorale SSAATTBB
1
Chorale
1
Voix Soprano
1
Voix basse, Piano
1
Voix Mezzo-Soprano, Piano
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
61
Flûte traversière et Piano
54
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
53
2 Saxophones (duo)
44
Clarinette et Piano
37
Quatuor de Saxophones: 4 saxophones
36
Hautbois, Piano (duo)
31
Saxophone Alto et Piano
30
2 Clarinettes (duo)
26
Clarinette (partie séparée)
25
Clarinette
23
Saxophone Tenor et Piano
21
Flûte traversière
20
Quatuor de Clarinettes: 4 clarinettes
20
2 Flûtes traversières (duo)
18
Flûte, Hautbois, Clarinette, Basson
17
Flûte, Clarinette (duo)
15
Quatuor de Flûtes : 4 flûtes
14
Saxophone Soprano et Piano
14
3 Saxophones (trio)
14
Ensemble de Flûtes
12
Ensemble de Clarinettes
12
Flute (partie séparée)
9
3 Clarinettes (trio)
9
Saxophone, Clarinette (duo)
8
Flûte, Violon
7
Saxophone Baryton, Piano
7
Hautbois (partie séparée)
7
Flûte, Hautbois, Clarinette (trio)
7
Clarinette, Violon (duo)
7
Trio de Flûtes: 3 flûtes
7
Cor anglais, Piano
6
Hautbois, Basson (duo)
6
Clarinette Basse, Piano
6
Ensemble de saxophones
5
Flûte, Saxophone (duo)
5
Clarinette et Alto
4
Clarinette, Trompette (duo)
4
Flûte et Guitare
4
Flûte, Clarinette, Piano (trio)
4
Hautbois, Clarinette (duo)
4
Flûte, Hautbois, Basson
4
Hautbois, Flûte
4
Saxophone Alto
4
Quintette de Saxophone: 5 saxophones
4
Flûte à bec Soprano
3
2 Hautbois (duo)
3
Clarinette, Violoncelle (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Flûte, Alto (duo)
2
Hautbois, Violoncelle
2
Piccolo, Piano
2
Flûte, Basson et Piano
2
Hautbois, Basson et Piano
2
Hautbois
2
Flûte, Violoncelle
2
Quatuor de Flûtes à bec
2
Flûte à bec Tenor
2
Clarinette, Basson (duo)
2
Quintette de Flûte : 5 flûtes
2
Hautbois, Harpe
2
2 Saxophones, Piano
1
Clarinette, Orgue
1
2 Flûte à bec (duo)
1
Saxophone Soprano
1
Flûte, Hautbois, Piano (trio)
1
3 Flûtes à bec (trio)
1
5 Flûtes à bec
1
Flûte, Violon et Violoncelle
1
Flûte, Trompette (duo)
1
Clarinette, Alto et Piano (trio)
1
Flûte, Violon, Piano
1
Flûte traversière, Orgue (duo)
1
2 Clarinettes, Basson
1
Hautbois et alto (duo)
1
Hautbois, violon (duo)
1
Flûte, Clarinette et Basson
1
Flûte à Bec
1
Hautbois, Clarinette, Basson (trio d'anches)
1
3 Hautbois
1
2 Cors Anglais Et Pianoforte
1
Flûte à bec Alto
1
Hautbois, trombone (duo)
1
Piccolo
1
Flûte, Trombone (duo)
1
Clarinette, Harpe (duo)
1
Clarinette Basse
1
Flûte, Hautbois (duo)
1
Saxophone
1
Clarinette, Contrebasse (duo)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
59
Trombone (partie séparée)
52
Trompette (partie séparée)
38
Trombone et Piano
34
Trompette, Piano
25
Quatuor de Cuivres : 2 trompettes, trombone, tuba
22
Cor et Piano
21
Cor (partie séparée)
16
Trompette
11
Euphonium, Piano (duo)
10
Tuba (partie séparée)
10
Trompette, Trombone (duo)
9
Tuba et Piano
9
Quatuor de cuivres: 4 trombones
9
Trombone
8
2 Trompettes (duo)
7
Ensemble de Trombones
7
Tuba
7
Cor anglais, Piano
6
Cor
6
Quatuor de Cuivres
6
Quatuor de cuivres: 4 cors
5
Trompette, Saxophone (duo)
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Ensemble de Trompettes
4
2 Cors (duo)
3
Euphonium, Tuba (duo)
3
2 Trombones (duo)
3
Trombone basse
3
Quatuor de cuivres: 4 trompettes
2
2 Tubas (duo)
2
3 Cors (trio)
2
2 Euphoniums et 2 Tubas
2
4 Tubas
1
Cor et Basson (duo)
1
Clarinette, Cor (duo)
1
Trompette, Cor (duo)
1
2 Cors Anglais Et Pianoforte
1
Trombone et orchestre
1
Ensemble de Cors
1
3 Trombones (trio)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
115
Violon et Piano
70
Violoncelle, Piano
39
Violon (partie séparée)
38
Alto, Piano
37
Violon
30
Contrebasse (partie séparée)
23
2 Violons (duo)
19
Violon, Violoncelle (duo)
18
Alto (partie séparée)
16
Violoncelle (partie séparée)
15
Harpe
14
Violon, Alto (duo)
13
2 Altos (duo)
13
Alto seul
10
Trio à Cordes: violon, alto, violoncelle
8
Trio à Cordes: 2 violons, violoncelle
5
Violoncelle
5
2 Violoncelles (duo)
4
Contrebasse, Piano (duo)
3
Contre Basse
3
Trio à Cordes: 3 violoncelles
2
Trio à Cordes: 2 violons, alto
2
Quatuor à cordes : 4 altos
2
Alto, Violoncelle (duo)
2
Violoncelle, Orchestre
2
4 Violoncelles
2
Violon, Guitare (duo)
2
Harpe, Flûte (duo)
2
Trio à cordes: 3 altos
1
Trio à cordes: 3 violins
1
Quatuor à cordes: 4 violons
1
4 Contrebasses
1
Violoncelle, Contrebasse (duo)
1
Violon, Orgue
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Flûte, Contrebasse (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1228
Orchestre à Cordes
196
Cloches
135
Orchestre
80
Ensemble de cuivres
43
Orchestre de chambre
36
Ensemble Jazz
20
Percussion (partie séparée)
16
Batterie (partie séparée)
9
Ensemble de Percussions
8
Jazz combo
6
Ensemble d'École
5
Fanfare
4
Vibraphone
3
Marimba
2
Xylophone
2
Xylophone, Piano
2
2 Xylophones
1
Timbales
1
Percussion
1
Marimba, Piano (duo)
1
Batterie
1
2 Marimbas
1
Piano et Orchestre
1
Quintette de Cuivres: autres combinaisons
1
Instrumentations suivantes
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AUTRES
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Contrast
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Contrastes
Guitar - Level 4 - Digital Download SKU: A0.1196426 Composed by Emmanuel Cabrera La…
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Guitar - Level 4 - Digital Download SKU: A0.1196426 Composed by Emmanuel Cabrera Lagunas. Chamber,Contemporary,Multicultural,World. 37 pages. Emmanuel Cabrera Lagunas #795566. Published by Emmanuel Cabrera Lagunas (A0.1196426). Contrastes es una obra escrita para el cuarteto de guitarras hidalguense ¨Emiola¨, quienes fueron alumnos del autor en el año 2016. La pieza, construida en una forma sonata contiene puentes y secciones contrastantes buscando combinar elementos modales que recuerdan la música de la antigua Grecia, elementos de la música popular como el blues y rÃtmicas de la música folklórica mexicana. Al igual que en la mayorÃa de sus obras para guitarra, el compositor se apoya de diversos estilos musicales que lo han influenciado a lo largo de su vida para generar y mostrar su propia personalidad, haciendo hincapié de esta manera en la universalidad de la música sin importar la segregación que existe a causa de la división en estilos musicales.
$8.00
7.35 €
#
Emmanuel Cabrera Lagunas
#
Contrastes
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Emmanuel Cabrera Lagunas
#
SheetMusicPlus
Contrasts (Contraste) - miniature for violin (/flute/clarinet) and/or guitar (/piano/harp) duo/solo
Clarinet,Flute,Guitar,Harpsichord,Organ,Piano Accompaniment,Violin - Level 3 - Digital Dow…
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Clarinet,Flute,Guitar,Harpsichord,Organ,Piano Accompaniment,Violin - Level 3 - Digital Download SKU: A0.913101 Composed by Andrei Lucian Dragoi. Contemporary,Standards. 8 pages. Andrei-Lucian Dragoi #6265419. Published by Andrei-Lucian Dragoi (A0.913101). - miniature for violin (/flute/clarinet) and/or guitar (/piano/harp) duo/soloMusic (composed on 26th of January 2000 and firstly published on 8th of February 2021):
$2.00
1.84 €
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Andrei Lucian Dragoi
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Contrasts
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Andrei-Lucian Dragoi
#
SheetMusicPlus
Contrasti
Trumpet (horn, trombone, tuba) and piano - Digital Download SKU: S9.Q5540 Composed …
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Trumpet (horn, trombone, tuba) and piano - Digital Download SKU: S9.Q5540 Composed by Armand Lonque. This edition: Sheet music. Downloadable. Op. 75. Schott Music - Digital #Q5540. Published by Schott Music - Digital (S9.Q5540).
$15.99
14.68 €
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Armand Lonque
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Contrasti
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Schott Music - Digital
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SheetMusicPlus
Contrasts (Sound Innovations Soloist, Bassoon)
Solo & Small Ensemble - Digital Download SKU: AX.00-PS-0016668 Composed by Michael …
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Solo & Small Ensemble - Digital Download SKU: AX.00-PS-0016668 Composed by Michael Kamuf. Instructional. 10 pages. Alfred Music - Digital Sheet Music #00-PS-0016668. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0016668).
$3.99
3.66 €
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Michael Kamuf
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Contrasts
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Five Contrasts for Chamber Orchestra
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Timpani,Trombone,Trumpet,Tuba,Viola,Vio…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058121 Composed by Jordan Grigg. Concert,Contemporary,Instructional,Standards. Full Performance. Duration 534. Jordan Grigg #5775805. Published by Jordan Grigg (A0.1058121).
$3.99
3.66 €
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Jordan Grigg
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Five Contrasts for Chamber Orchestra
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Jordan Grigg
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SheetMusicPlus
Trombone Contrasts
Trombone Trio - Grade 2.5 SKU: HL.4479273 Trombone Trio with Piano - Grade 2.5
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Trombone Trio - Grade 2.5 SKU: HL.4479273 Trombone Trio with Piano - Grade 2.5. Composed by Harold L. Walters. Rubank Solo/Ensemble Sheet. Contest. 16 pages. Rubank Publications #RUBX831. Published by Rubank Publications (HL.4479273). UPC: 073999792737. 9x12 inches.
$7.99
7.34 €
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Harold L
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Trombone Contrasts
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Rubank Publications
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SheetMusicPlus
Spiritual Contrasts
Saxophone Ensemble; Saxophone Quartet - Grade 3 SKU: HL.4479587 Flexible Saxopho…
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Saxophone Ensemble; Saxophone Quartet - Grade 3 SKU: HL.4479587 Flexible Saxophone Ensemble - Grade 3. Composed by Harold L. Walters. Arranged by Harold L. Walters. Rubank Solo/Ensemble Sheet. Contest. 32 pages. Rubank Publications #RUBX776. Published by Rubank Publications (HL.4479587). UPC: 073999795875. 9.0x12.0x0.051 inches.Quartet, Quintet or Sextet for two alto, tenor and baritone saxophones/additional third alto and second tenor (optional).
$8.99
8.26 €
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Harold L
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Harold L
#
Spiritual Contrasts
#
Rubank Publications
#
SheetMusicPlus
Contrasts
Euphonium solo with band SKU: TE.TEP10542 Book 1 - Euphonium BC. Composed by…
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Euphonium solo with band SKU: TE.TEP10542 Book 1 - Euphonium BC. Composed by William Lane. Score. Published by Tuba-Euphonium Press (TE.TEP10542).
$70.00
64.28 €
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William Lane
#
Contrasts
#
Tuba-Euphonium Press
#
SheetMusicPlus
Contrasts
Euphonium solo with piano SKU: TE.TEP11016 Composed by Larry Whatley. Score. Publis…
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Euphonium solo with piano SKU: TE.TEP11016 Composed by Larry Whatley. Score. Published by Tuba-Euphonium Press (TE.TEP11016).
$15.00
13.77 €
#
Larry Whatley
#
Contrasts
#
Tuba-Euphonium Press
#
SheetMusicPlus
Two Contrasting Pachelbel Fugues
Tuba ensemble - 5 Parts - Digital Download SKU: CX.TEP10668 Composed by Johann Pach…
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Tuba ensemble - 5 Parts - Digital Download SKU: CX.TEP10668 Composed by Johann Pachelbel. Arranged by Frank Ferriano. Score and parts. 17 pages. Published by Tuba-Euphonium Press (CX.TEP10668).
$18.00
16.53 €
#
Johann Pachelbel
#
Frank Ferriano
#
Two Contrasting Pachelbel Fugues
#
Tuba-Euphonium Press
#
SheetMusicPlus
Three Contrasting Duets - For Any Two Wind Instruments (Bb Transposition)
Woodwind Ensemble - Level 2 - Digital Download SKU: A0.778171 Composed by John McAl…
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Woodwind Ensemble - Level 2 - Digital Download SKU: A0.778171 Composed by John McAllister. Contemporary,Instructional,Standards. 4 pages. John McAllister #5988111. Published by John McAllister (A0.778171). These duets will work best for woodwinds, however brass can play them as well. Just note that they may be a bit more difficult for the brass in certain areas. There is an accompaniment/play-along that is available for free on Youtube and download for a small fee on Sheet Music Plus. These are written for all transpositions, so you can purchase those ones individually to play with friends! There is also a version to purchase all of the parts at once (mainly for music educators) For more music and practice resources, visit my website: www.johnmcallistermusic.com
$1.99
1.83 €
#
John McAllister
#
Three Contrasting Duets - For Any Two Wind Instruments
#
John McAllister
#
SheetMusicPlus
Three Contrasting Duets - For Any Two Wind Instruments (C Transposition - Treble Clef)
Woodwind Ensemble - Level 2 - Digital Download SKU: A0.778170 Composed by John McAl…
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Woodwind Ensemble - Level 2 - Digital Download SKU: A0.778170 Composed by John McAllister. Classical,Contemporary,Instructional,Standards. 7 pages. John McAllister #5987671. Published by John McAllister (A0.778170). These duets will work best for woodwinds, however brass can play them as well. Just note that they may be a bit more difficult for the brass in certain areas. There is an accompaniment/play-along that is available for free onYoutube and download for a small fee on Sheet Music Plus. These are written for all transpositions, so you can purchase those ones individually to play with friends! There is also a version to purchase all of the parts at once (mainly for music educators) For more music and practice resources, visit my website: www.johnmcallistermusic.com
$1.99
1.83 €
#
John McAllister
#
Three Contrasting Duets - For Any Two Wind Instruments
#
John McAllister
#
SheetMusicPlus
Three Contrasting Duets - For Any Two Wind Instruments (Bass Clef)
Instrumental Duet Euphonium,Instrumental Duet,Trombone,Tuba - Digital Download SKU: A0.…
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Instrumental Duet Euphonium,Instrumental Duet,Trombone,Tuba - Digital Download SKU: A0.778169 Composed by John McAllister. Classical,Contemporary,Instructional,Standards. Score and parts. 7 pages. John McAllister #5987665. Published by John McAllister (A0.778169). These duets will work best for woodwinds, however brass can play them as well. Just note that they may be a bit more difficult for the brass in certain areas. There is an accompaniment/play-along that is available for free on Youtube and download for a small fee on Sheet Music Plus. These are written for all transpositions, so you can purchase those ones individually to play with friends! There is also a version to purchase all of the parts at once (mainly for music educators) For more music and practice resources, visit my website: www.johnmcallistermusic.com
$1.99
1.83 €
#
John McAllister
#
Three Contrasting Duets - For Any Two Wind Instruments
#
John McAllister
#
SheetMusicPlus
Two Contrasting Pachelbel Fugues
Tuba ensemble - 5 Parts SKU: TE.TEP10668 Composed by Johann Pachelbel. Arranged by …
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Tuba ensemble - 5 Parts SKU: TE.TEP10668 Composed by Johann Pachelbel. Arranged by Frank Ferriano. Large ensemble music. Score and parts. Published by Tuba-Euphonium Press (TE.TEP10668).
$18.00
16.53 €
#
Johann Pachelbel
#
Frank Ferriano
#
Two Contrasting Pachelbel Fugues
#
Tuba-Euphonium Press
#
SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
44.03 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.
$47.95
44.03 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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jmsgu3
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SheetMusicPlus
Laura's Quartet
Strings - Level 5 - Digital Download SKU: A0.1451014 By Antonio Monteiro. By Antoni…
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Strings - Level 5 - Digital Download SKU: A0.1451014 By Antonio Monteiro. By Antonio Monteiro. Arranged by Antonio Monteiro. Baroque,Classical,Film/TV,Wedding. Full Performance. Duration 139. Antonio Quixada #1030467. Published by Antonio Quixada (A0.1451014). String quartet song with classical and baroque influence. Theme and its variations create highly contrastant moods, from soft and tender to energetic ones.
$4.99
4.58 €
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Antonio Monteiro
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Antonio Monteiro
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Laura's Quartet
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Antonio Quixada
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SheetMusicPlus
The Song of Ruth (Downloadable)
Soprano voice solo, SATB choir unaccompanied - Medium - Digital Download SKU: MQ.8474-E…
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Soprano voice solo, SATB choir unaccompanied - Medium - Digital Download SKU: MQ.8474-E Composed by Stanley M. Hoffman. Pentecost. 12 pages. E. C. Schirmer Music Company - Digital #8474-E. Published by E. C. Schirmer Music Company - Digital (MQ.8474-E). English. Ruth 1:16-17.A setting of the most famous passage from the Book of Ruth (Ruth 1:16-17) opens with a gentle polyphonic section for the chorus. The soprano joins the choir for the twice-repeated middle section of the piece. The music here is contrastingly homophonic and intense. (“Where you die, I will die and be buried.â€) The Song of Ruth closes with a recapitulation of the music from the opening, but with new words assigned to it, and with the soprano soloist providing a descant for it. Appropriate for Shavuot (The Feast of Weeks) and Pentecost. Duration: ca. 4:00.
$2.65
2.43 €
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Stanley M
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The Song of Ruth
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
The Girl In The Green Bandanna
Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - Digital Download SKU: A0.1169176 By Franklyn Grace. By Franklyn Grace. Chamber,Contemporary. 39 pages. Franklyn Grace Creative Arts #769302. Published by Franklyn Grace Creative Arts (A0.1169176). The Girl In the Green Bandanna is a contemporary woodwind quintet for flute, oboe, clarinet, bass clarinet, and bassoon. It is based upon the classical Rondo Form, with this particular pattern of the form being ABACBA. These six sections that comprise the piece all focus in some capacity on two individual themes: the first, slower theme of the A Section and the contrastingly more lively theme that follows immediately afterward in the B Section.Below is a theoretical analysis of the parts and how they each have their own unique nod, whether big or small, to these two main themes. A1 (mm. 1-9): The opening section of the piece, which introduces Theme 1.B1 (mm. 10-22): Directly following the opening, this section introduces Theme 2.A2 (mm. 23-58): After a brief interlude from the bassoon part, the main motif from Theme 1 returns, presented as motivic manipulation in the clarinet part of this section, underneath the flute melody.C (mm. 59-123): A new, more jaunty section not yet heard in the piece, though which still contains occasional traces of the main motif from Theme 2.B2 (mm. 124-144): Theme 2 in a modulated key and with a more majestic energy. Here, the two themes merge together momentarily, as Theme 1 can be heard briefly in the Clarinet part during the first eight measures of this section, much akin to A2.A3 (mm. 145-149): The outro of the piece, which is a polytonal rendering of the modulated key from B2 and the original opening key.
$9.99
9.17 €
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Franklyn Grace
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The Girl In The Green Bandanna
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Franklyn Grace Creative Arts
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SheetMusicPlus
Mountain Trail
String Orchestra - Level 2 - Digital Download SKU: A0.1449767 Composed by J. String…
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String Orchestra - Level 2 - Digital Download SKU: A0.1449767 Composed by J. Stringer. Chamber. 25 pages. JFS Music #1029529. Published by JFS Music (A0.1449767). B Minor transitions to D Major at the end. 4/4 quarter, eighth, half, dotted half, whole notes. Stacatto /Legato contrast. Dynamic contrast.
$30.00
27.55 €
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J
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Mountain Trail
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JFS Music
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SheetMusicPlus
Prayers and Blessings (Piano/Vocal Score)
Bass/baritone voice solo, violoncello and organ - Moderately Easy - Digital Download SK…
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Bass/baritone voice solo, violoncello and organ - Moderately Easy - Digital Download SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages. Duration 10 minutes. E. C. Schirmer Music Company - Digital #6593-E. Published by E. C. Schirmer Music Company - Digital (MQ.6593-E). English.The three songs Welcome Love (Ubi caritas), Make Me an Instrument of Thy Peace, and Gaelic Blessing are interconnected motivically yet distinct in meter, tonality, and message. These three songs are interconnected motivically, yet distinct in meter, tonality, and message. Peace and reverence flow throughout. The songs are for a bass-baritone. Commissioned in 2003 by David Arnold, a North Carolina bass-baritone who is a soloist in the 80-voice Chancel Choir at Centenary United Methodist Church in Winston-Salem. Mr. Arnold premiered these songs at Centenary with organist Ray Ebert and cellist Jennifer Alexandra Johnston on February 27, 2005. A new version for voice and piano was created in 2005. A transposition for lyric Baritone was added in 2015, commissioned by Ferris Allen (Baritone) and Linda Holzer (Pianist) of Little Rock, AR.The lyrics for Ubi Caritas are based on a new translation, by Christopher Brunelle, of the traditional Ubi Caritas Est Vera. A recurrent image in this translation is the gesture of welcoming: welcoming love, welcoming God, welcoming the friendly unfamiliar thought, welcoming Christ with us. The musical interpretation of welcoming is stepwise motion, either up or down, around a pitch center. Perhaps this might be heard as an opening of the door, or an opening of the heart.An interlude leads to the second song, Make Me an Instrument of Thy Peace, a musical setting of the Prayer of Saint Francis. The accompaniment is sparse, with material reminiscent of the welcoming pattern in the first song. This song alternates between triple meter for the thematic sections (Lord, make me an instrument of thy peace) and duple meter for the more recitative sections (O Divine Master...). The music ends as it began, with simple open fifths accompaniment, this time filling in the chords to express the fullness of the lyrics born to eternal life.A second interlude provides the bridge to the third song, Gaelic Blessing. The text for this song is a series of blessings for peace. The gentle chordal arpeggiations in the piano are intended to provide a peaceful accompaniment. [Once again, the stepwise intervals and recurrent regular rhythms relate to the first song.]In keeping with the simplicity and repetition of the text, the music is formed by a series of four-measure phrases (blessings). The blessings are similar in contour, each spanning an interval of a fourth. Growth is achieved through repetition and some dynamic contrast. However, the principal aesthetic of this song is constancy and gentle flow. Only at the end of the song, when the voice descends into the deep range, is the melodic contour altered, and dynamic contrast introduced. As the voice ends on low tones, the piano line rises, perhaps to the source of peace.Duration: 10 min.
$11.00
10.1 €
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Gwyneth W
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Prayers and Blessings
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Ceo
Piano Trio,String Ensemble - Level 3 - Digital Download SKU: A0.954285 Composed by …
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Piano Trio,String Ensemble - Level 3 - Digital Download SKU: A0.954285 Composed by Adam Scott Neal. 20th Century,Contemporary. Score and parts. 13 pages. Adam Scott Neal #2855455. Published by Adam Scott Neal (A0.954285). Program note:Ceo (kayo), Gaelic for fog or mist, is a short piece for piano trio. It was inspired by the instruments, mainly the perfect fifths of open strings and the contrast between the piano's discrete pitches and the strings' ability to glissandi. To me, the piece took on a folk-like character, evocative of hiking in the hills of Ireland or Appalachia.This is an intermediate-level trio, but makes use of sostenuto pedal effects and a lot of glissando. It is brief and moody, and it makes a nice contrast to Romantic-era works.
$7.99
7.34 €
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Adam Scott Neal
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Ceo
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Adam Scott Neal
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
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