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Vous avez sélectionné:
The Americans Come!
Partitions à imprimer
7 partitions trouvées
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American Anthem- theBanner
Small Ensemble - Level 2 - Digital Download SKU: A0.972955 Composed by John W. Fish…
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Small Ensemble - Level 2 - Digital Download SKU: A0.972955 Composed by John W. Fisher. Contemporary,Holiday,Patriotic. Score and parts. 2 pages. John Fisher #3537133. Published by John Fisher (A0.972955). 1st of a patriotic trilogy arranging the words of our National Anthem that begins pp at the dawns's early light and as the star spangled banner finally becomes visible, it crescendos in a dramatic ending. Used with the pledge, or with the declaration or standing by itself it is a fine choral arrangement of words we as Americans hold so dear.
$4.50
4.13 €
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John W
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American Anthem- theBanner
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John Fisher
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SheetMusicPlus
Here We Come A-Wassailing (The American Edition) - lead sheet (as heard on Dr. Demento Show)
Voice Duet Guitar,Voice - Digital Download SKU: A0.562144 Composed by Traditional, …
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Voice Duet Guitar,Voice - Digital Download SKU: A0.562144 Composed by Traditional, Samuel Stokes. Arranged by Samuel Stokes. Christian,Christmas,Concert,Contemporary,Folk. 2 pages. SamuelStokesMusic.com #5297069. Published by SamuelStokesMusic.com (A0.562144). This is a lead sheet of the parody song Here We Come A-Wassailing (The American Edition) as heard on The Dr. Demento Show. This hilarious song explores the fact that most Americans don't know many of the British idioms found in the Christmas carols that we sing every single year. Learn more about Samuel Stokes at https://www.SamuelStokesMusic.com
$2.99
2.75 €
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Traditional, Samuel Stokes
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Samuel Stokes
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Here We Come A-Wassailing
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SamuelStokesMusic.com
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SheetMusicPlus
Juneteenth Call for Flute and Harp
Instrumental Duet - Level 4 - Digital Download SKU: A0.1244850 By George Edward Bra…
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Instrumental Duet - Level 4 - Digital Download SKU: A0.1244850 By George Edward Brandon. By George Edward Brandon. Arranged by George Edward Brandon. 21st Century,Holiday. 3 pages. Blue Unity Music #839773. Published by Blue Unity Music (A0.1244850). This piece is a short and sprightly celebration of the anniversary of the date on which the last enslaved African Americans learned that the War between the States had concluded, slavery had been abolished and they had become free people. This was in Galveston, Texas on June 17, 1865. Another version of this piece, called Juneteenth Call for GR, exists for flute and clarinet, and there is also a third but slightly different version of it for saxophone quartet. A video of the flute and harp version was recorded by Castle of Our Skin and appears on their youtube channel as the Black Composer Challenge #2.
$4.50
4.13 €
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George Edward Brandon
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George Edward Brandon
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Juneteenth Call for Flute and Harp
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Blue Unity Music
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SheetMusicPlus
Lithuanian Nonet for winds & strings
A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Down…
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A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.1358397 Composed by Juozas ŽileviÄius. Arranged by Kazys DaugÄ—la. 20th Century,Classical. 162 pages. Kazys Daugela #942837. Published by Kazys Daugela (A0.1358397). Juozas ŽileviÄius (1891–1985) was an organist, composer, educator, and researcher in the history of music. In 1919, when graduating from the Petrograd Conservatory, he composed Symphony in F minor, the first Lithuanian composition in this genre. Upon his return to Lithuania in 1920, ŽileviÄius worked in various musical life spheres of the young republic: he took part in the activities of the Society of Lithuanian Art Creators, contributed to the establishment of Kaunas Opera House, worked for several years as the head of the Art Department at the Ministry of Education, prepared the first music curricula for secondary schools and progymnasiums, conducted courses for music teachers, taught at music schools in Kaunas and KlaipÄ—da, published a musical periodical, and initiated the first Lithuanian Song Festival. Musicologist DanutÄ— PetrauskaitÄ— managed to bring copies of three-movement Nonet for strings and wind instruments from Chicago to Lithuania. ŽileviÄius started writing it in December 1924. The composition was apparently inspired by the Czech Nonet members, working at KlaipÄ—da School of Music, who had been invited by its director Stasys Å imkus from Prague. This was a lively and youthful group that gave concerts all over Lithuania. It amazed audiences with its high artistic level and set an example for students, encouraging them to form various ensembles. The repertoire of the Czech Nonet consisted mainly of works from the Classical and Romantic eras. There were few contemporary compositions, and therefore the Czech Nonet performers turned to composers with a request to write new works for them. They might have discussed the matter with ŽileviÄius with whom they maintained a close relationship, as they did later with Lithuanian composer Jeronimas KaÄinskas.ŽileviÄius finished writing Nonet on 15 November 1926. All three movements were based on the intonations of Lithuanian folk melodies. The first movement (Andante. Allegro moderato) imitatively developed the motifs of the song “Autumn will Comeâ€, while the second one (Andante cantabile) featured fragments of the song I Rode through the Woodâ€, and the third one (Allegro) of the song “Oh, you Bird Cherryâ€. The composition was written professionally, it should have been attractive and interesting for the performers, but, unfortunately, it was never performed. The reasons for this could have been various: disagreements between the director of  KlaipÄ—da Music School, Å imkus, and his deputy, ŽileviÄius, as well a the Czech teachers’ falling into disgrace and starting to resign from their teaching positions in the autumn of 1926. A few years later, ŽileviÄius also resigned from the school: in January 1929 he left for the USA and settled in Elizabeth, New Jersey, where he worked as a church organist. He also brought his Nonet from KlaipÄ—da, hoping that this work would be heard in America. To this end, he found transcribers who made instrumental parts from the score. As it turned out, there were few Lithuanian instrumentalists in the USA, and ŽileviÄius did not have close relations with Americans. Thus Nonet, which the composer regarded as one of his most successful compositions after his Symphony in F minor, sank into oblivion. Thanks to Kazys DaugÄ—la, an opportunity appeared to edit and digitise it after the sheet music of Nonet had arrived in Lithuania. This work reveals the origins of the Lithuanian musical culture, enriches the repertoire of chamber-instrumental ensembles, broadens music education curricula, inks the name of ŽileviÄius, the author of both the first Lithuanian symphony and of the first nonet, in the history of music, and contributes to the preservation and fostering of the Lithuanian musical heritage.by Prof. Dr. DanutÄ— PetrauskaitÄ—.
$59.99
55.09 €
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Juozas ŽileviÄius
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Kazys DaugÄ—la
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Lithuanian Nonet for winds & strings
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Kazys Daugela
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SheetMusicPlus
A Whitman Triptych: III. Facing West (Downloadable)
Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digi…
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Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42
$2.65
2.43 €
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David Conte
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A Whitman Triptych: III. Facing West
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Lift Every Voice and Sing
Small Ensemble Cello,Piano,Voice - Level 3 - Digital Download SKU: A0.905711 Compos…
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Small Ensemble Cello,Piano,Voice - Level 3 - Digital Download SKU: A0.905711 Composed by James Weldon Johnson, John Rosmond Johnson. Arranged by Brandon Haynes. Concert,Sacred,Spiritual. Score and parts. 10 pages. Brandon Haynes #4603703. Published by Brandon Haynes (A0.905711). Lift Every Voice and Sing was initially written as a poem by James Weldon Johnson in 1900 and set to music by his brother John Rosamond Johnson in 1905 and has become known a national anthem for African-Americans. The initial hymn tune is intense with grandeur and immense hope. With this arrangement; I have set the music more somberly to reflect the seriousness of the text that speaks of the bitterness and anguish of America’s dark racial past that is still rampant today. This allows the listener to reflect on the text thoughtfully. Remarkably, I have heard this hymn many times throughout my lifetime both in predominantly Caucasian denominations and predominantly African-African American denominations and the differences in interpretation are fascinating. White congregations tend to sing this hymn spritely with great pomp and circumstance while the Black congregations tend to sing it more labored and meditative as if it were a dirge. I believe both interpretations are valid, but interesting given its context. This arrangement is written for medium-high voice, cello obbligato and piano accompaniment.
$6.50
5.97 €
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James Weldon Johnson, John Rosmond Johnson
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Brandon Haynes
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Lift Every Voice and Sing
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Brandon Haynes
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SheetMusicPlus
Boost Me Up To Glory. Camp Meeting Song and Chorus
Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4692 Composed by …
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Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4692 Composed by Giveadam Jones. African Americans, Dialects, Biblical references, Death, Symbols, Ethnic stereotypes. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4692). Boost Me Up To Glory. Camp Meeting Song and Chorus. Words by Bro. Wakeup Misery. Music by Giveadam Jones. Published 1887 by C.H. Ditson & Co., 867 Broadway in New York. Composition of strophic with chorus (and dance interlude; call and response) with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include African Americans, Dialects, Biblical references, Death, Symbols, Ethnic stereotypes. First line reads Bred'ren come and len' a han' Boost me up to glory.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.5 €
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Giveadam Jones
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Boost Me Up To Glory. Camp Meeting Song and Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
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