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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Never Thought
Sheetmusicplus
Non classifié
37
Piano & claviers
Piano seul
29
Piano, Voix et Guitare
11
Piano Facile
7
Orgue
5
Instruments en Do
4
Piano, Voix
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Trio: piano, violon, violoncelle
1
+ 3 instrumentations
Retracter
Guitares
Guitare notes et tablatures
2
Basse electrique
2
Guitare
1
Voix
Chorale SATB
18
Chorale TTBB
4
Chorale SSAA
4
Chorale 3 parties
4
Chorale 2 parties
2
Voix duo
1
Voix seule
1
+ 2 instrumentations
Retracter
Vents
2 Saxophones (duo)
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Flûte, Hautbois, Clarinette, Basson
5
Quatuor de Saxophones: 4 saxophones
5
Quintette de Saxophone: 5 saxophones
4
Saxophone, Clarinette (duo)
3
Saxophone Tenor et Piano
2
Clarinette, Violon (duo)
2
2 Clarinettes (duo)
2
Clarinette, Trompette (duo)
2
2 Flûtes traversières (duo)
2
Flûte à bec Alto, Piano
1
Hautbois, Piano (duo)
1
Hautbois, Basson (duo)
1
Clarinette, Guitare (duo)
1
Flûte, Violon
1
Cor anglais, Piano
1
Clarinette Basse, Piano
1
Clarinette et Alto
1
Flûte, Trompette (duo)
1
Clarinette
1
Saxophone Soprano et Piano
1
Flûte et Guitare
1
3 Clarinettes (trio)
1
Flûte, Alto (duo)
1
Saxophone Alto
1
Flûte, Clarinette (duo)
1
2 Hautbois (duo)
1
Flûte, Saxophone (duo)
1
Clarinette et Piano
1
Flûte traversière et Piano
1
Ensemble de Flûtes
1
Hautbois, Flûte
1
Saxophone Alto et Piano
1
Hautbois, Clarinette (duo)
1
+ 30 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Quatuor de Cuivres
4
Trombone et Piano
2
Trompette
2
Trompette, Saxophone (duo)
2
Trompette, Trombone (duo)
1
Cor anglais, Piano
1
Ensemble de Tubas
1
2 Trombones (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
2 Trompettes (duo)
1
Euphonium, Piano (duo)
1
Tuba et Piano
1
+ 8 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
18
Violon et Piano
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Alto, Piano
4
Violoncelle, Piano
2
Violon, Alto (duo)
1
2 Violoncelles (duo)
1
4 Violoncelles
1
2 Altos (duo)
1
Violoncelle
1
2 Violons (duo)
1
+ 6 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
5
Orchestre
5
Cloches
2
Orchestre de chambre
2
Orchestre d'harmonie
2
Orchestre à Cordes
1
Ensemble de cuivres
1
Marimba
1
Vibraphone
1
+ 4 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
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BOUZOUKI
BUGLE
CHANT - CHO…
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CITHARE
CLAIRON
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CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
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EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Note4Piano
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Vous avez sélectionné:
Never Thought
SheetMusicPlus
Partitions à imprimer
37 partitions trouvées
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1
26
The Twelfth Of Never
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Contemporain
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Johnny Mathis
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Kerry Marsh
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The Twelfth Of Never
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Kerry Marsh
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SheetMusicPlus
Rhythm Section Voice (SSAA) - Level 3 - SKU: A0.876033 By Johnny Mathis. By Jerry Livingston. Arranged by Kerry Marsh. Contemporary. Vocal Jazz Ensemble...
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Rhythm Section Voice (SSAA) - Level 3 - SKU: A0.876033 By Johnny Mathis. By Jerry Livingston. Arranged by Kerry Marsh. Contemporary. Vocal Jazz Ensemble. 15 pages. Kerry Marsh #5204117. Published by Kerry Marsh (A0.876033). L3, SSAA with mix of notated and chords/slashes piano and bass parts, drums. Inspired by Dianne Reeves' recording from That Day, this arrangement for women's vocal jazz ensemble uses modern, fresh harmony to reinterpret this classic popular in the late 50's/early 60's. The rhythm section's role in the main melody section is to punctuate the texture with surprising and beautiful harmonic moments. A soloist breaks out from the ensemble briefly, but the chart focuses largely on the choir. This title is part of the Vault Collection at KerryMarsh.com, where you can hear the full-length demo, preview the full score and supplement your SheetMusicPlus order with Part Tracks, Minus-One Tracks and the Rhythm Track for this arrangement. While visiting KerryMarsh.com, you can browse (with helpful filters and search options) over 200 charts featured in the main catalog, comprised of the newest sheet music from Kerry Marsh as well as arrangements by Kelly Kunz (for Groove For Thought), Simon Akesson (for Accent), David von Kampen and other excellent vocal arrangers. Demos, score previews and supplemental rehearsal tracks are available for all main catalog charts.
$50.00
Never Enough
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Contemporain
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Benj Pasek and Justin Paul
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Brandyn Burget
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Never Enough
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Brandyn Burget
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SheetMusicPlus
Piano Trio,String Ensemble - Level 4 - SKU: A0.943180 Composed by Benj Pasek and Justin Paul. Arranged by Brandyn Burget. Contemporary. Score and parts....
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Piano Trio,String Ensemble - Level 4 - SKU: A0.943180 Composed by Benj Pasek and Justin Paul. Arranged by Brandyn Burget. Contemporary. Score and parts. 11 pages. Brandyn Burget #4313587. Published by Brandyn Burget (A0.943180). Took the great hit from The Greatest Showman and made a daring and complicated duet for tenor and alto with violin/cello accompaniment. Very tough to read and I really wrote it for a friend of mine and I to sing so it was more in her range and thought it would be fun to create this and make a project out of it. Tight harmonies, tough dissonance, and some awkward moments!
$4.99
Nevermore for alto and classical guitar (mp3)
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Contemporain
#
András Csáki
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Nevermore for alto and classic
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - Level 3 - SKU: A0.1387471 By András Csáki (guitar) and Bernadett Nagy (alto). By David Warin Solomons. Contemporary. Full Perf...
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Alto Voice,Guitar - Level 3 - SKU: A0.1387471 By András Csáki (guitar) and Bernadett Nagy (alto). By David Warin Solomons. Contemporary. Full Performance. Duration 167. David Warin Solomons #971325. Published by David Warin Solomons (A0.1387471). This setting of Paul Verlaine's poem Nevermore plays on an ambiguity of major and minor modes, swaying back and forth between the tonal centres of G minor and E flat majorThe poem and English translation are as follows:Nevermore  Souvenir, souvenir, que me veux-tu? L'automneFaisait voler la grive à travers l'air atone,Et le soleil dardait un rayon monotoneSur le bois jaunissant où la bise détone.Nous étions seul à seule et marchions en rêvant,Elle et moi, les cheveux et la pensée au vent.Soudain, tournant vers moi son regard émouvant :Quel fut ton plus beau jour? fit sa voix d'or vivant,Sa voix douce et sonore, au frais timbre angélique.Un sourire discret lui donna la réplique,Et je baisai sa main blanche, dévotement.-- Ah! les premières fleurs, qu'elles sont parfumées !Et qu'il bruit avec un murmure charmantLe premier oui qui sort de lèvres bien-aimées !English translation by S N Solomons:Memory, what would you have of me? AutumnDrove the thrush up through the atonic airAnd the pale sun pierced in monotoneThe chill and windy woods and the leaf flare.Together but alone we went our ways,Hair blown awry and monad thoughts unfurled.Sudden she turned to me her tender gaze:What was your finest day? - a voice of gold,Dulcet and low, ineffable and fresh.And I said nothing, offered her a smile,Seized her pale hand and pressed a kiss.Ah those first flowers of spring how sweet they were,And that first whispered Yes, how it beguiled,Won from those lovely lips with gentle murmur.(c) S N Solomons.
$6.00
An Hour Never Passes
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Jimmy Kennedy
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Karen Penketh
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An Hour Never Passes
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Karen Penketh
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SheetMusicPlus
Choral Choir (4-Part) - Level 2 - SKU: A0.935417 Composed by Jimmy Kennedy. Arranged by Karen Penketh. Barbershop. Octavo. 3 pages. Karen Penketh #53195...
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Choral Choir (4-Part) - Level 2 - SKU: A0.935417 Composed by Jimmy Kennedy. Arranged by Karen Penketh. Barbershop. Octavo. 3 pages. Karen Penketh #5319569. Published by Karen Penketh (A0.935417). This beautiful yet simple ballad could be perfect for the female Barbershop Contest stage. It's message is clear, there's never a time that goes by that you are not in my thoughts. .
$1.99
LOVELY THOUGHTS
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Lars Ek
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LOVELY THOUGHTS
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underh...
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Accordion,Double Bass,Guitar - SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
The Flame
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Rock
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Cheap Trick
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from68
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The Flame
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from68
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SheetMusicPlus
Guitar,Voice - Level 2 - SKU: A0.1475015 By Cheap Trick. By Bob Mitchell and Nick Graham. Arranged by from68. Pop,Rock. Guitar Tab with Voice. 14 pages....
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Guitar,Voice - Level 2 - SKU: A0.1475015 By Cheap Trick. By Bob Mitchell and Nick Graham. Arranged by from68. Pop,Rock. Guitar Tab with Voice. 14 pages. From68 #1052606. Published by from68 (A0.1475015). Cheap Trick's first and only U.S. No. 1 hit. I never thought this band would conquer the U.S. with such a beautiful ballad. Although penned by a team of composers outside the band, it has become one of the band's signature songs, so much so that Robin Sander may have written it in a hotel room while on tour, strumming an acoustic guitar. According to Rick Nielsen (G), there was an interview in which he said, Maybe I shouldn't have included this song on the Cheap Trick album. but he seems to be satisfied with the quality of his own songs. It is quite an adventure to play a ballad with a band, but with the recent evolution of equipment, the hurdle has been lowered, and for an American rock band ballad, the chorus is simple and easy to reproduce. However, the best way to play the ballad is to play it with an acoustic guitar.■PDF 14P 980 KB ■VOCAL, GUITAR(TAB), BASS(TAB),KEYBOARD,DRUMS.
$5.00
Praying
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Musique Sacrée
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Kesha
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Rebecca Dale
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Praying
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Amphibia Cultural Legacy
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SheetMusicPlus
Mixed Percussion,Strings Bass Clarinet,Double Bass,Drum Set,Drums,Electric Bass Guitar,Flute,Harp,Horn,Medium Voice,Medium-High Voice,Medium-Low Voice,Oboe,Perc...
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Mixed Percussion,Strings Bass Clarinet,Double Bass,Drum Set,Drums,Electric Bass Guitar,Flute,Harp,Horn,Medium Voice,Medium-High Voice,Medium-Low Voice,Oboe,Percussion,Piano,Trombone,Trumpet,Tuba - SKU: A0.1153279 By Kesha. By Andrew Joslyn, Ben Abraham, Kesha Sebert, and Ryan Lewis. Arranged by Rebecca Dale. Classical,Historic,Praise & Worship,Religious,Spiritual. 10 pages. Amphibia Cultural Legacy #753527. Published by Amphibia Cultural Legacy (A0.1153279). Amphibia Cultural Legacy has released a remixed version of Kesha's hit song, Praying is the beautiful epic cover remixed with additional instruments. The new version features powerful and dramatic instrumentation that adds another layer of emotion to an already emotional experience. This rendition will surely touch listeners in a way they never thought possible.Adding new instruments elevates the song's intensity and gives it a grander feel than before. From the opening notes, you can feel the power behind each instrument as it creates a wall of sound that envelops you. The vocals are just as strong as ever, but now they are accompanied by soaring strings and thundering percussion that leave no doubt about the emotional impact this song can have on its listeners. Overall, Amphibia Cultural Legacy has taken an already emotionally charged song, making it even more powerful.
$40.00
Gabriel's Anthem (String Orchestra Performance Recording MP3)
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Paul Barker Music
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Gabriel's Anthem
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Paul Barker Music
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SheetMusicPlus
Strings Piano,Suspended Cymbal,Timpani - Level 3 - SKU: A0.1310006 By Paul Barker Music. By Paul Barker. 20th Century,21st Century,Contemporary,Contest,...
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Strings Piano,Suspended Cymbal,Timpani - Level 3 - SKU: A0.1310006 By Paul Barker Music. By Paul Barker. 20th Century,21st Century,Contemporary,Contest,Festival,Patriotic. Full Performance. Duration 137. Paul Barker Music #899131. Published by Paul Barker Music (A0.1310006). Performance Recording MP3 for Gabreil's Anthem - String Orchestra.Elevate your next concert with timeless elegance which is Gabriel's Anthem. This symphonic journey is rich in stoic grandeur and ideal for festivals, concerts and formal occasions of all kinds. From the emotional crescendos to the very last poignant ritardando, you'll be moved in ways you never thought possible. A Violin III part is also included to double the Viola. The Timpani, Glockenspiel, Cymbals and Piano are optional.Score and Parts are available here.
$4.95
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
Song of the Childless
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Contemporain
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David Warin Solomons
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Song of the Childless
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David Warin Solomons
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - SKU: A0.576279 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts...
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Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - SKU: A0.576279 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 4 pages. David Warin Solomons #15653. Published by David Warin Solomons (A0.576279). This song was inspired by my initial reactions to the realization that I am infertile. In my case this was due to Kallmann's syndrome I am now perfectly happy with my infertility, after all, there is much else to do in the world and Dawkins' selfish gene can simply go spin its plot elsewhere: my children are my compositions, and they populate the world in their own way with joy, humour and thoughtfulness... wherever they will... ... However, I know there are many who are not happy with childlessness, so I dedicate this song to them ....and to my past self. The sound sample is my own performance. Here are the words: Learn this my child, who never hears my word Your luck is out, you are but but a poem deaf to change You are a romantic ramble on absurd round which the childless brain desires to range Hear this my daughter, blind to loveliness Your love is mine, untouchable, unknown to all Save to a song befitting her distress Whom Sappho loved but answered not her call See this my eunuch, watching others` joy Your luck was in, your luck was in You threw it far away, too far away for its return Save to another and another boy while I look on, unmoved as from a star Taste this my tears grown cold Resigned and pure Your love is his I know not whose nor do I care Yet love I would, and yet cannot be sure that another`s love could now be mine to share Warm this my heart These strings beget my child Their luck is in Their love is mine So close, my son! My daughter`s breath sings Through my fingers styled Sings to herself All other children shun © David W Solomons Video:https://www.youtube.com/watch?v=NOB34ds34Tk
$11.00
If You Could Go Back Piano Vocal Performance
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Pop musique
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Steven H
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Ashley Ivers
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If You Could Go Back Piano Voc
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Boothe Publishing
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SheetMusicPlus
Piano,Voice - SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publishing #4633725. P...
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Piano,Voice - SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publishing #4633725. Published by Boothe Publishing (A0.1069977). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
If You Could Go Back Guitar Vocal Performance
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Rock
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Steven H
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If You Could Go Back Guitar Vo
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Boothe Publishing
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SheetMusicPlus
Bass Guitar,Voice - SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. Published by Boo...
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Bass Guitar,Voice - SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. Published by Boothe Publishing (A0.1069976). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
You're in Me
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Gbērē Dodoh
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You're in Me
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Holyone Tombari Dodoh
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.518610 By Gbērē Dodoh. By Holyone Tombari Dodoh. 20th Century,Classical,Contemporary,Film/TV,Romantic Period....
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Small Ensemble - Level 5 - SKU: A0.518610 By Gbērē Dodoh. By Holyone Tombari Dodoh. 20th Century,Classical,Contemporary,Film/TV,Romantic Period. Score and parts. 51 pages. Holyone Tombari Dodoh #129316. Published by Holyone Tombari Dodoh (A0.518610). Score and parts included. Lyrics performed by an Open Source Virtual Singer Software (bot). Lyrics Male: I feel you deep inside of me; Joy fills me, I will always love you. Female: I feel you deep inside of me. Joy fills me, I will always love you. Male: I can't stop the thought of you. You live deep inside me. When you ever need me I will always be there for you. Female: You live in me I hope I leave in you I hope you are mine I'm sure; I am all yours I am like you You are like me Every time I feel you deep inside of me Joy fills me, I will always love you. Male: God bless you and I I'm in you You are in me Female: Hold me closer, We are one Male: Brighter than Gold is my sweetest love. I feel you deep inside of me. Female: I can't stop the thought of you You live deep inside me When you ever need me I will always be there for you. Male: I pray for the life in us Last as long as we want Love will never fade away I feel you deep inside of me Female: Joy fills me Male & Female: I will always love you When you ever need me I will always be there for you.
$6.00
Everlong
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Foo Fighters
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Brian Streckfus
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Everlong
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian St...
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Guitar - Level 2 - SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian Streckfus #1063740. Published by Brian Streckfus (A0.1486675). Key: B minorPages: 2The aim of this version was not historical accuracy. The aim was to create a great solo unplugged coffee-house version with no page turns, though it could still be really useful for any situation. The melody is left intact, some liberties with the harmonies were taken when there is singing. I'm very proud and happy with how it turned out, sometimes you get lucky and the sections fall perfectly into place (which is suprising since there are some odd 3 measure phrases in here). Features:1. Beginner friendly. The chords are so accurate to what the sheet music is doing, that you don't even really need to read sheet music to play this!2. Harmonies that take difficulty, style, voice leading, and melody into consideration3. Condensed lead sheet version that fits on 2 pages to avoid a page turn; yet it is packed with details and naunces.4. Beautifully engraved sections that visually make sense on the page.Tips:1. Measures 8-16 I named that chords as if both guitars were taken into consideration. I'm guilty of sometimes saying, Oh it's just a rock song with power chords, but then you look into the details, and the chords are actually quite jazzy.2. Maybe She sang needs a fermata?3. If a song is in B minor and never changes key, fret 1 will never happens! Be in position 2 for this song! That's why I didn't put fingerings in, they would have been as helpful as confusing.4. Maybe it's a given, but I recommend forcing melody notes on to the chord in one way or another. Sometimes I go on spurts of notating many complex chords to account for the melody, other times I just show one chord per measure but kind of assume that you'll make the guitar work more fancy with the melody notes. Maybe this is overthinking the arrangement, but there is great voicings I'm doing that I want to get across, but sometimes I won't do it because the score will get too busy looking. Just food for thought, depends on your agenda I suppose.
$2.99
Adagio for Trombone and Strings
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Classique
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Tomaso Giovanni Albinoni
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Biehn, Sean F
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Adagio for Trombone and String
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Gordon Cherry
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SheetMusicPlus
Large Ensemble Bass Trombone - Level 5 - SKU: A0.792126 Composed by Tomaso Giovanni Albinoni. Arranged by Biehn, Sean F. Baroque. Score and parts. 17 pa...
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Large Ensemble Bass Trombone - Level 5 - SKU: A0.792126 Composed by Tomaso Giovanni Albinoni. Arranged by Biehn, Sean F. Baroque. Score and parts. 17 pages. Gordon Cherry #3664891. Published by Gordon Cherry (A0.792126). The Adagio in G minor for Trombone and String Quartet is a wonderful arrangement of the work attributed to Tomaso Albinoni (1671-1751). The work is about 7 minutes in length for advanced performers.Below is a short article about the Adagio by the arranger, Sean F. Biehn:There is much controversy as to who wrote the Adagio for Strings in G minor and whether it was a stolen idea or embellished from a piece of a manuscript. The piece is considered to be a fragment of Tomaso Albinoni's (1671-1751) original manuscript with a few measures of the melodic material and the basso continuo. During World War II, the bombings of Dresdon, which is where the Saxon State Library resided, was destroyed and Remo Giazotto (1910-1998) evacuated most of its documents, being that he was a musicologist-and an Albinoni biographer. Giazotto took the fragment of manuscript and completed what he thought would be the completed piece which in turn makes his completed piece an original composition. In 1958, Giazotto finalized the piece under the title of Adagio in G minor for Strings and Organ, on Two Thematic Ideas and on a Figured Bass by Tomaso Albinoni. Remo Giazotto never shared the manuscript and after his death in 1998, there has never been a record of the missing manuscript fragment. To this day, the string ensemble with organ is popularly performed. There have been numerous and recent alterations in instrumentation for this piece due to the fact that other soloists wanted to perform the beautiful piece. This particular version of the piece contains a string quartet accompanying a trombone soloist.
$35.00
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
High Over You Piano Vocal Performance
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Pop musique
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Steven H
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Ashley Ivers
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High Over You Piano Vocal Perf
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Boothe Publishing
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SheetMusicPlus
Piano,Voice - SKU: A0.1069973 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 298. Boothe Publishing #4633713. P...
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Piano,Voice - SKU: A0.1069973 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 298. Boothe Publishing #4633713. Published by Boothe Publishing (A0.1069973). After being married for several years I realized that I had never written a love song for my wife. So, one day during a lull in guitar lessons I wrote her a song. I truly believe she is the light in my life and that without her my life would be about as interesting as a stone. When I am with her I feel that I can accomplish anything. She inspires me to be better than I am because she is in every way better than I am. She has more patience, kindness, is more caring and less concerned about how others view her than anyone else I know. I'm glad I finally worked up the courage to ask her to marry me. I was afraid to open my mouth and speak what was on my mind. After many months, when I thought I was going to lose her completely, I opened up my feelings to her, and to my great relief she had some of the same feelings that I had. She didn't say yes she would marry me right away, (I had to lock her in a room to get that response) however, over time she did decide of her own free will and choice to marry me. Thank you Karen Ziegelbauer, you are the best.
$1.99
Maple Leaf Rag, by Scott Joplin, for Alto Flute and Piano
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Ragtime
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Scott Joplin
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David McKeown
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Maple Leaf Rag, by Scott Jopli
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David McKeown
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SheetMusicPlus
Alto Flute,Instrumental Solo,Piano - Level 4 - SKU: A0.1112352 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and...
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Alto Flute,Instrumental Solo,Piano - Level 4 - SKU: A0.1112352 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and individual part. 8 pages. David McKeown #714426. Published by David McKeown (A0.1112352). The most popular of Scott Joplin’s piano rags during his lifetime, The Maple Leaf Rag was published in 1899. Joplin lived for a while in Sedalia, Missouri and the Maple Leaf Club in that town is thought to have provided the name for this composition. It provided Joplin with a steady income for the rest of his life, and while he requested that it be played at his funeral, his wife refused as she felt it inappropriate. It was the first track on Joshua Rifkin’s famous 1970 revival recording of Joplin’s music and, never waning in popularity, it has featured in hundreds of films. This version for Alto Flute and Piano includes all four sections of the original composition. The tempo in recorded versions varies widely between 72 and 126, so the marking of 92 is a suggestion only. Musicians at an advanced intermediate level and above will find this ideal for formal and informal performances. The overall performance time is around four minutes. Teachers will enjoy using this arrangement as a fun way to help with phrasing, syncopated rhythms and light articulation. Click the YouTube link to hear a full performance of the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
Maple Leaf Rag, by Scott Joplin, for Tenor Horn and Piano
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Ragtime
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Scott Joplin
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David McKeown
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Maple Leaf Rag, by Scott Jopli
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David McKeown
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SheetMusicPlus
Instrumental Solo,Piano,Tenor Horn - Level 4 - SKU: A0.1112420 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and...
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Instrumental Solo,Piano,Tenor Horn - Level 4 - SKU: A0.1112420 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and individual part. 8 pages. David McKeown #714454. Published by David McKeown (A0.1112420). The most popular of Scott Joplin’s piano rags during his lifetime, The Maple Leaf Rag was published in 1899. Joplin lived for a while in Sedalia, Missouri and the Maple Leaf Club in that town is thought to have provided the name for this composition. It provided Joplin with a steady income for the rest of his life, and while he requested that it be played at his funeral, his wife refused as she felt it inappropriate. It was the first track on Joshua Rifkin’s famous 1970 revival recording of Joplin’s music and, never waning in popularity, it has featured in hundreds of films. This version for Tenor Horn in E Flat and Piano includes all four sections of the original composition. The tempo in recorded versions varies widely between 72 and 126, so the marking of 92 is a suggestion only. Musicians at an advanced intermediate level and above will find this ideal for formal and informal performances. The overall performance time is around four minutes. Teachers will enjoy using this arrangement as a fun way to help with phrasing, syncopated rhythms and light articulation. Click the YouTube link to hear a full performance of the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
High Over You Guitar Minus Vocal
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Pop musique
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Steven H
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High Over You Guitar Minus Voc
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Boothe Publishing
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SheetMusicPlus
Guitar - SKU: A0.1069954 Composed by Steven H. Boothe. Pop. Accompaniment. Duration 280. Boothe Publishing #4633647. Published by Boothe Publishing (A0....
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Guitar - SKU: A0.1069954 Composed by Steven H. Boothe. Pop. Accompaniment. Duration 280. Boothe Publishing #4633647. Published by Boothe Publishing (A0.1069954). After being married for several years I realized that I had never written a love song for my wife. So, one day during a lull in guitar lessons I wrote her a song. I truly believe she is the light in my life and that without her my life would be about as interesting as a stone. When I am with her I feel that I can accomplish anything. She inspires me to be better than I am because she is in every way better than I am. She has more patience, kindness, is more caring and less concerned about how others view her than anyone else I know. I'm glad I finally worked up the courage to ask her to marry me. I was afraid to open my mouth and speak what was on my mind. After many months, when I thought I was going to lose her completely, I opened up my feelings to her, and to my great relief she had some of the same feelings that I had. She didn't say yes she would marry me right away, (I had to lock her in a room to get that response) however, over time she did decide of her own free will and choice to marry me. Thank you Karen Ziegelbauer, you are the best.
$1.99
High Over You Guitar Vocal Performance
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Pop musique
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Steven H
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High Over You Guitar Vocal Per
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Boothe Publishing
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SheetMusicPlus
Guitar,Voice - SKU: A0.1069972 Composed by Steven H. Boothe. Pop. Full Performance. Duration 280. Boothe Publishing #4633711. Published by Boothe Publis...
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Guitar,Voice - SKU: A0.1069972 Composed by Steven H. Boothe. Pop. Full Performance. Duration 280. Boothe Publishing #4633711. Published by Boothe Publishing (A0.1069972). After being married for several years I realized that I had never written a love song for my wife. So, one day during a lull in guitar lessons I wrote her a song. I truly believe she is the light in my life and that without her my life would be about as interesting as a stone. When I am with her I feel that I can accomplish anything. She inspires me to be better than I am because she is in every way better than I am. She has more patience, kindness, is more caring and less concerned about how others view her than anyone else I know. I'm glad I finally worked up the courage to ask her to marry me. I was afraid to open my mouth and speak what was on my mind. After many months, when I thought I was going to lose her completely, I opened up my feelings to her, and to my great relief she had some of the same feelings that I had. She didn't say yes she would marry me right away, (I had to lock her in a room to get that response) however, over time she did decide of her own free will and choice to marry me. Thank you Karen Ziegelbauer, you are the best.
$1.99
Heidenröslein: Variations on a Theme by Franz Schubert
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Classique
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Franz Schubert, Kayla Roth
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Heidenröslein: Variations
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Kayla Roth
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SheetMusicPlus
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroq...
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.
$20.00
Apex Predator
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Classique
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Martin J
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Apex Predator
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Martin J. Van Klompenberg
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,Bassoon - Level 4 - SKU: A0.1022385 Composed by Martin J. Van Klompenberg. Classical. 28 pages. Martin J. Van Klompenber...
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Woodwind Ensemble Bass Clarinet,Bassoon - Level 4 - SKU: A0.1022385 Composed by Martin J. Van Klompenberg. Classical. 28 pages. Martin J. Van Klompenberg #627493. Published by Martin J. Van Klompenberg (A0.1022385). Apex Predator began life as all pieces do: With a small child who loves dinosaurs.During a video chat with my nephew, Georgie, he very excitedly told me of theTitanboa, the largest snake that ever existed. Having never heard of this monstrousbeast, I took to the internet, and after falling into a wormhole, stumbled upon anarticle on apex predators.When one thinks of apex predators, the top link in the food chain, the usual thoughtgoes to lions, tigers and bears, however, depending on the biome, apex predatorscome in all sorts of species, sizes, speeds and colors. This disparity is what I hopedto explore. The Bengal Tiger, the well-known hunter, stalking and pouncing itsprey; the alligator snapping turtle, wading in its muddy home, waiting for a chanceto strike; the majestic orca, king of the oceans; the golden eagle, with its brilliantwingspan; and the Komodo dragon, the largest lizard on earth, with its poisonousbite and shockingly fast speed.Audio Example - https://soundcloud.com/martin-vanklompenberg/van-klompenberg-apex-predator.
$30.00
Portrait - Score Only
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Contemporain
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Antonio Gervasoni
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Portrait - Score Only
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Antonio Gervasoni
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SheetMusicPlus
Piano Quintet,String Ensemble - Level 5 - SKU: A0.1088407 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 21 pages. Antonio Gerv...
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Piano Quintet,String Ensemble - Level 5 - SKU: A0.1088407 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 21 pages. Antonio Gervasoni #692671. Published by Antonio Gervasoni (A0.1088407). Single-movement work for piano quintet. Portrait is a piece I wrote in August 2004 as a gift to Adolf Sobrevilla, to whom it is dedicated. As the title suggests, it is a portrait, an attempt to describe a person—not physically, but emotionally—through music. The original version called for a string orchestra and piano, but I was never completely satisfied with that solution and kept constantly revising the score over the years. In 2016 I was close to a definitive solution after realizing that, due to the virtuosity required of the strings, it was better to reduce them to a solo quintet. Finally, in 2022, I thought it would be better to rewrite the piece for a piano quintet, being a more standard formation.
$4.99
Maple Leaf Rag, by Scott Joplin, Clarinet and Alto Clarinet Duet
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Ragtime
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Scott Joplin
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David McKeown
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Maple Leaf Rag, by Scott Jopli
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David McKeown
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SheetMusicPlus
Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 4 - SKU: A0.1109548 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,R...
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Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 4 - SKU: A0.1109548 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and parts. 5 pages. David McKeown #711942. Published by David McKeown (A0.1109548). The most popular of Scott Joplin’s piano rags during his lifetime, The Maple Leaf Rag was published in 1899. Joplin lived for a while in Sedalia, Missouri and the Maple Leaf Club in that town is thought to have provided the name for this composition. It provided Joplin with a steady income for the rest of his life, and while he requested that it be played at his funeral, his wife refused as she felt it inappropriate. It was the first track on Joshua Rifkin’s famous 1970 revival recording of Joplin’s music and, never waning in popularity, it has featured in hundreds of films. This duet version for one Clarinet and one Alto Clarinet includes all four sections of the original composition. The tempo in recorded versions varies widely between 72 and 126, so the marking of 92 is a suggestion only. The YouTube link is a full performance of the Clarinet version of this arrangement. Musicians at an advanced intermediate level and above will find this ideal for formal and informal performances. The overall performance time is around four minutes. Teachers will enjoy using this arrangement as a fun way to help with phrasing, syncopated rhythms and light articulation. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
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