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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
Two to one
Sheetmusicplus
Non classifié
3 305
Piano & claviers
Piano seul
805
Piano Facile
310
Piano, Voix
213
Piano, Voix et Guitare
154
Accompagnement Piano
132
Instruments en Do
131
Orgue
104
1 Piano, 4 mains
75
2 Pianos, 4 mains
69
Piano (partie séparée)
15
Piano Trio: piano, violon, violoncelle
14
Accordéon
8
Orgue, Trompette (duo)
6
Piano Quatuor: piano, violon, alto, violoncelle
6
Clavecin
5
Piano Quatuor: piano, 2 violons, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Orgue, Piano (duo)
3
2 Pianos, 8 mains
2
1 Piano, 6 mains
2
Piano grosses notes
1
2 Accordéons
1
+ 17 instrumentations
Retracter
Guitares
Guitare notes et tablatures
208
Guitare
113
2 Guitares (duo)
41
Guitare (partie séparée)
31
Ukulele
31
Dulcimer
15
Ligne De Mélodie, (Paroles) et Accords
15
Basse electrique
13
Mandoline
11
4 Guitares (Quatuor)
9
3 Guitares (trio)
6
Piano, Guitare (duo)
5
Banjo
4
2 Dulcimers (duo)
3
Ensemble de guitares
3
Paroles et Accords
2
2 Mandolines (duo)
1
Ukulele Baryton
1
2 Ukuleles
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
472
Chorale 2 parties
224
Chorale 3 parties
157
Chorale Unison
100
Chorale TTBB
68
Chorale SSAA
31
Voix duo
27
Voix duo, Piano
25
Voix Soprano, Piano
21
Voix Tenor, Piano
20
Voix Baryton, Piano
11
Voix haute
10
Voix Alto, Piano
10
Voix moyenne, Piano
6
Voix Tenor
6
Voix Soprano
3
Chorale SSAATTBB
2
Soli, choeur mixte et accompagnement
1
Voix Soprano, Orchestre
1
Voix basse
1
Voix basse, Piano
1
Chorale SSATTB
1
Chorale
1
Chorale SSAB a cappella
1
+ 19 instrumentations
Retracter
Vents
2 Saxophones (duo)
902
Flûte traversière et Piano
302
2 Flûtes traversières (duo)
273
Saxophone Alto et Piano
264
Saxophone Tenor et Piano
236
2 Clarinettes (duo)
230
Saxophone (partie séparée)
219
Quatuor de Saxophones: 4 saxophones
177
Saxophone, Clarinette (duo)
157
2 Hautbois (duo)
135
Clarinette, Violon (duo)
107
Flûte, Clarinette (duo)
91
Saxophone Soprano et Piano
89
Clarinette et Piano
86
Quintette de Saxophone: 5 saxophones
85
Hautbois, Piano (duo)
83
Clarinette, Trompette (duo)
81
Saxophone Alto
74
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
74
Hautbois, Basson (duo)
74
Hautbois, Clarinette (duo)
70
3 Saxophones (trio)
68
Flûte, Hautbois, Clarinette, Basson
66
Ensemble de saxophones
66
2 Flûte à bec (duo)
61
Quatuor de Clarinettes: 4 clarinettes
57
Saxophone Tenor
55
Clarinette et Alto
55
Flûte, Violon
52
Flûte, Saxophone (duo)
50
Flûte traversière
47
Hautbois, Flûte
47
Clarinette
46
Flûte, Trompette (duo)
40
Flûte, Violon, Piano
37
Ensemble de Clarinettes
36
Flûte, Alto (duo)
35
Saxophone Baryton, Piano
33
Ensemble de Flûtes
32
Quatuor de Flûtes : 4 flûtes
32
2 Flûtes traversières, Piano
30
Hautbois (partie séparée)
27
3 Clarinettes (trio)
24
Flute (partie séparée)
22
Cor anglais, Piano
20
Trio de Flûtes: 3 flûtes
20
Clarinette (partie séparée)
17
Flûte et Guitare
16
Clarinette, Violoncelle (duo)
13
Quintette de Flûte : 5 flûtes
12
Clarinette Basse, Piano
12
Quintette de Clarinettes: 5 clarinettes
11
Quatuor de Flûtes à bec
10
Clarinette, Basson (duo)
10
Saxophone Soprano
9
Hautbois, Violoncelle
9
Hautbois, Clarinette, Basson (trio d'anches)
8
Flûte à bec Soprano
8
Flûte, Violoncelle
7
Flûte, Hautbois (duo)
7
Clarinette, Trombone (duo)
6
Ensemble De Flûte à bec
6
Cor Anglais
5
Flûte à bec Soprano, Piano
5
Clarinette, Guitare (duo)
5
Flûte à Bec
5
Flûte, Hautbois, Clarinette (trio)
4
3 Flûtes à bec (trio)
4
2 Saxophones, Piano
4
Flûte, Clarinette et Basson
4
Saxophone et Harpe
4
Flûte à bec Tenor
4
Ensemble à vent
3
Hautbois, trombone (duo)
3
Saxophone et Guitare
3
Flûte, Trombone (duo)
3
5 Flûtes à bec
3
Hautbois, violon (duo)
3
Flûte, Clarinette, Piano (trio)
3
Saxophone et Orgue
2
Flûte, Hautbois, Basson
2
Clarinette Basse
2
Flute, harpe et violon
2
2 Cors Anglais Et Pianoforte
2
Harmonica
2
Piccolo, Piano
2
Flûte, Basson et Piano
2
Saxophone
2
Flûte à bec Alto
2
Hautbois et alto (duo)
2
2 Hautbois et Cor anglais
1
3 Hautbois
1
Clarinette, Harpe (duo)
1
Ensemble de Hautbois
1
Flûte, trombone et piano
1
Flûte, Hautbois, Piano (trio)
1
Hautbois, Basson et Piano
1
4 Hautbois
1
Piccolo
1
Flûte, Violon et Violoncelle
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Hautbois, Harpe
1
Flûte, Violoncelle, Piano (trio)
1
Flûte irlandaise
1
2 Clarinettes, Piano
1
Hautbois, Guitare (duo)
1
Saxophone et Piano
1
+ 102 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
486
Trombone et Piano
298
2 Trombones (duo)
261
Trombone (partie séparée)
189
Quatuor de Cuivres : 2 trompettes, trombone, tuba
167
2 Trompettes (duo)
141
Trompette, Saxophone (duo)
109
Trompette, Trombone (duo)
106
Quatuor de Cuivres: 2 trompettes, Cor, trombone
66
Trompette (partie séparée)
64
Trombone
58
Trompette, Piano
48
Quatuor de Cuivres
48
Trompette
47
Ensemble de Trombones
45
Quatuor de cuivres: 4 trombones
36
Euphonium, Piano (duo)
26
Cor et Piano
26
Ensemble de Trompettes
25
2 Cors (duo)
23
Trombone, Tuba (duo)
21
Cor anglais, Piano
20
Cor (partie séparée)
15
2 Euphoniums (duo)
14
Cor
13
Tuba (partie séparée)
12
Tuba et Piano
11
3 Trombones (trio)
11
Quatuor de cuivres: 2 trompettes, 2 trombones
11
Trompette, Cor (duo)
9
2 Tubas (duo)
9
Trompette, Basson (duo)
8
Tuba
8
Ensemble de Cors
7
Trio de Cuivres
7
Trompette, Violoncelle (duo)
6
Euphonium
5
Cor Anglais
5
Cor, Violoncelle (duo)
5
Cor et Basson (duo)
4
Quatuor de cuivres: 4 cors
4
4 Tubas
3
3 Trompettes (trio)
3
Trombone, Orgue
3
Trombone basse
3
3 Euphoniums
2
2 Trompettes, Clavier (piano ou orgue)
2
2 Euphoniums et 2 Tubas
2
Trombone basse et Piano
2
2 Cors Anglais Et Pianoforte
2
Tuba et Orgue
2
Bass Clef Instruments
1
3 Tubas (trio)
1
Trompette, violon (duo)
1
Trompette et Guitare
1
Trompette, Trombone, Piano
1
Trompette, Violoncelle et Piano
1
2 Cors, Piano
1
Trombone, Violon (duo)
1
Quatuor de cuivres: 4 trompettes
1
3 Cors (trio)
1
Clarinette, Cor (duo)
1
Trompette, Harpe
1
Trombone, Cor (duo)
1
+ 59 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
441
Violon, Violoncelle (duo)
330
Violon
271
Trio à Cordes: violon, alto, violoncelle
226
2 Violons (duo)
205
Violon et Piano
183
Harpe
169
2 Violoncelles (duo)
149
2 Altos (duo)
147
Violon, Alto (duo)
108
Violoncelle, Piano
92
Quintette à cordes: 2 violons, alto, violoncelle, basse
89
Alto, Piano
77
Trio à Cordes: 2 violons, violoncelle
72
Violoncelle
63
Alto seul
32
Alto, Violoncelle (duo)
26
Contrebasse (partie séparée)
23
Harpe, Flûte (duo)
19
Alto (partie séparée)
14
Violon (partie séparée)
13
Violon, Guitare (duo)
12
2 Harpes (duo)
11
Contrebasse, Piano (duo)
11
4 Violoncelles
10
Contre Basse
9
Ensemble de Violons
8
Violoncelle, Contrebasse (duo)
7
Piano Trio: Violon, Alto, Piano
7
Trio à Cordes: 3 violoncelles
7
Harpe, Voix
6
Ensemble d'Altos
6
Quatuor à cordes: 4 violons
6
Violon, Basson (duo)
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Trio à Cordes: 2 violons, alto
5
Harpe, Violon (duo)
4
2 Contrebasses (duo)
4
3 Harpes
3
Trio à cordes: 3 violins
3
Harpe, Violoncelle (duo)
3
2 Violons, Piano
3
Alto et Harpe
3
Trio à cordes: 3 altos
2
5 Harpes
2
Violon, Clarinette, Piano (trio)
2
Alto et Basson
2
Violon, Basse continue
2
Quatuor à cordes : 4 altos
2
Violoncelle , Guitare (duo)
2
Alto, Guitare (duo)
2
Harpe, Trombone (duo)
2
Autoharp
1
Violoncelle (partie séparée)
1
2 Violoncelles, Piano
1
Harpe et Piano
1
Violoncelle, Basse continue
1
Violoncelle, Orchestre
1
+ 53 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
723
Orchestre à Cordes
211
Ensemble de cuivres
179
Ensemble Jazz
163
Orchestre
158
Cloches
104
Orchestre de chambre
61
Jazz combo
46
Ensemble de Percussions
41
Batterie (partie séparée)
15
Batterie
11
Fanfare
9
Percussion (partie séparée)
8
Marimba
8
Xylophone, Piano
4
2 Xylophones
4
Xylophone
3
Percussion
2
Vibraphone
2
2 Marimbas
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Piano et Orchestre
1
Ensemble d'École
1
+ 19 instrumentations
Retracter
Autres
Formation musicale - Solfège
2
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Instruments
ACCORDEON
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AUTRES INST…
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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
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HAUTBOIS
LIVRES
LUTH
MANDOLINE
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3301
One last bar then Joe can sing
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Gavin Bryars
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One last bar then Joe can sing
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Schott Music - Digital
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SheetMusicPlus
Percussion-Quintett - SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloa...
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Percussion-Quintett - SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloadable, score and parts. Duration 20 minutes. Schott Music - Digital #Q50078. Published by Schott Music - Digital (S9.Q50078). One Last Bar Then Joe Can Sing (1994) was commissioned by the Arts Council of Great Britain for the percussion quintet Nexus, and is a reflection on aspects of percussion history, both personal and musical. The members of Nexus are my friends (I played in the Steve Reich Ensemble along with Russ Hartenberger in 1972, the year after Nexus was formed). The piece aimed to demonstrate how a fine percussion ensmeble can be as musically expressive and subtle as, say, a string quartet. The piece starts from the last bar at the end of the second act of my opera Medea, a very short coda for a quintet of untuned percussion instruments during which the curtain falls. In this piece, however, this one apparently innocuous measure is progressively fragmented until it is taken over, little by little, by the addition of tuned percussion instruments. Eventually two metallophones (crotales and songbells) play aria-like material with bows, occasionally joined by the xylophone, and accompanied by marimba and xylophone ostinati. The piece ends with a coda in which phrases are passed from bowed vibraphone to bowed crotales, then to bowed songbells, supported by tremolos on the marimbas. The rare 3-octave songbells that Nexus owns is one of the American instrument maker J. C. Deagan's particularly fine instruments. The piece is effectively a kind of homage to Deagan, the Stradivarius of the tuned percussion world, who collaborated closely with Percy Grainger in the development of tuned percussion music between the wars. The allusions in the title are obvious: the one last bar is the last measure of music from my opera; the song is that of Deagan's songbells. In the case of Joe I wanted to link my father, Joe Bryars (who was a good amateur baritone singer) with Joseph Deagan and his songbells. However, some time after I had written the piece, Nexus's Bob Becker took me to one side and told me (gently) that the initial J in Deagan's name, in fact, stood for JohnGavin BryarsPercussion 1: Crotales (with bow), Chocolo, Mark Tree; Percussion 2I: Song Bells (with bow), Chinese Cymbal, 3 Wood Blocks; Percussion 3: 2 Cymbals, 2 Triangles, Xylophone, Marimba (shared with Marimba II), Vibraphone (with bow); Percussion 4: 2 Cymbals, 2 Gongs, Marimba I (with low F), Maracas; Percussion 5: 2 low Tom-Toms, Marimba II (to low A).
$45.99
Someone is praying for you 有人在为你祷告
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Ida L
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Ida L
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Someone is praying for you 有
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Steven See
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SheetMusicPlus
Choral 4-Part Chorus,Choir,Choral - Level 1 - SKU: A0.1510237 By Ida L. Reed. By Ida L. Reed. Arranged by Ida L. Reed. Christian,Praise & Worship,Religi...
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Choral 4-Part Chorus,Choir,Choral - Level 1 - SKU: A0.1510237 By Ida L. Reed. By Ida L. Reed. Arranged by Ida L. Reed. Christian,Praise & Worship,Religious,Spiritual. 4 pages. Steven See #1085443. Published by Steven See (A0.1510237). Someone is praying for youSomeone is praying for youSo when it seems you're all aloneAnd your heart will break in twoRemember someone is praying for youHave the crowds 'round you gathered in the midst of the storm?Is your ship tossed and battered, are you weary and worn?Don't lose hope, someone's praying for you this very dayAnd peace be still is already on the waySomeone is praying for youSomeone is praying for youSo when it seems you're all aloneAnd your heart will break in twoRemember someone is praying for youWhen it seems that you've prayed 'til your strength is all goneAnd your tears fall like raindrops all the day longHe cares and He knows just how much you can bearHe'll speak your name to someone in prayerSomeone is praying for youSomeone is praying for youSo when it seems you're all aloneAnd your heart will break in twoRemember someone is praying for youRemember someone is praying for you.
$3.99
16 Favourite Easter Hymns for Double Reed Quartet, two Oboes, Cor Anglais and Bassoon
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Musique Sacrée
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Various
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David McKeown
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16 Favourite Easter Hymns for
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David McKeown
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.587861 Composed by Various. Arranged by David McKeown. Christian,Easter...
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.587861 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031037. Published by David McKeown (A0.587861). 16 Favourite Easter Hymns for Double Reed Quartet is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for two Oboes, one Cor Anglais/English Horn and one Bassoon. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns (the Saxophone Quartet version), via the youtube link above. 16 Favourite Easter Hymns for Double Reed Quartet are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Double Reed Quartet useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) 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
$9.99
Two Scenes from the Lodz Ghetto - Chamber Version: 1. At the Clothing Department; 2. To Get a Ration
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Stanley M Hoffman
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Two Scenes from the Lodz Ghett
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stanleymhoffman.com
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SheetMusicPlus
Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,...
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Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. 240 pages. Stanleymhoffman.com #1015206. Published by stanleymhoffman.com (A0.1435098). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.
$60.00
80 Duets for Two Bass Trombones From the Renaissance Era
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Renaissance
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Eric Burger Music
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80 Duets for Two Bass Trombone
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Eric Burger Music
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SheetMusicPlus
Small Ensemble Bass Trombone,Bassoon,Cello,Euphonium,Tuba - Intermediate - SKU: A0.508498 Arranged by Eric Burger Music. Renaissance. Score and parts. 1...
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Small Ensemble Bass Trombone,Bassoon,Cello,Euphonium,Tuba - Intermediate - SKU: A0.508498 Arranged by Eric Burger Music. Renaissance. Score and parts. 102 pages. Published by Eric Burger Music (A0.508498). This book is for two bass trombones, tubas, euphoniums, cellos, bassoons, or any mix of these as range would allow. The titles in this publication are arranged in order of difficulty, so that the musician or teacher may begin with the less difficult titles in the front and work through the book. This publication was compiled with sight-reading and stylistic study in mind, yet many of these works are worthy of performance. The level of difficulty ranges from Grade .5 - 3.5. These duets are published in three different editions: for two tenor trombones; one tenor and one bass trombone; and two bass trombones. It may also be successfully used with any combinations of trombone, euphonium, bassoon, cello, or tubas as range allows. Work in one edition may not be compatible with works in the others, due to range considerations. This quality work is published by Eric Burger Music. These works are also available at: www.EricBurgerMusic.com Each of these Trombone and Low Brass Quartet works are arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the composer intended. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my work, write me directly for a replacement. 
$24.00
80 Duets for One Tenor and One Bass Trombone from the Renaissance Era
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Renaissance
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Eric Burger Music
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80 Duets for One Tenor and One
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Eric Burger Music
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SheetMusicPlus
Small Ensemble Bassoon,Cello,Euphonium,Trombone,Tuba - Intermediate - SKU: A0.508497 Arranged by Eric Burger Music. Renaissance. Score and parts. 102 pa...
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Small Ensemble Bassoon,Cello,Euphonium,Trombone,Tuba - Intermediate - SKU: A0.508497 Arranged by Eric Burger Music. Renaissance. Score and parts. 102 pages. Published by Eric Burger Music (A0.508497). This book is for one tenor trombone and one bass trombone, or any combination of euphoniums, tubas, cellos, bassoons as range will allow. The titles in this publication are arranged in order of difficulty, so that the musician or teacher may begin with the less difficult titles in the front and work through the book. This publication was compiled with sight-reading and stylistic study in mind, yet many of these works are worthy of performance. The level of difficulty ranges from Grade .5 - 3.5. These duets are published in three different editions: for two tenor trombones; one tenor and one bass trombone; and two bass trombones. It may also be successfully used with any combinations of trombone, euphonium, bassoon, cello, or tubas as range allows. Work in one edition may not be compatible with works in the others, due to range considerations. This quality work is published by Eric Burger Music. These works are also available at: www.EricBurgerMusic.com Each of these Trombone and Low Brass Quartet works are arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the composer intended. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my work, write me directly for a replacement.
$24.00
Concerto for Two Violins BWV 1043 for Two Tenor Trombones & Piano
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Classique
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Johann Sebastian Bach
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Gordon Cherry
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Concerto for Two Violins BWV 1
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Gordon Cherry
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 5 - SKU: A0.810838 Composed by Johann Sebastian Bach. Arranged by Gordon Cherry. Baroqu...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 5 - SKU: A0.810838 Composed by Johann Sebastian Bach. Arranged by Gordon Cherry. Baroque. Score and parts. 16 pages. Gordon Cherry #3451283. Published by Gordon Cherry (A0.810838). Originally for two violins and orchestra, this work has been transcribed for two tenor trombones and piano by Gordon Cherry, principal trombonist of the Vancouver Symphony. One of Bach's greatest compositions is now available for advanced trombonist(s) who can read tenor clef. The work has been transposed down one full step from the original key of D minor to C minor. High C is the highest note requiring two advanced players. This transcription sounds amazing and is a fantastic showpiece for two trombonists & piano. It even sounds great with just the two trombone parts without piano.
$15.00
Concerto for Two Violins (1st Movement) for Two Tenor Trombones & Piano
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Classique
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Johann Sebastian Bach
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Cherry, Gordon
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Concerto for Two Violins
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Gordon Cherry
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SheetMusicPlus
Small Ensemble Piano,Tenor Trombone - Level 5 - SKU: A0.810878 Composed by Johann Sebastian Bach. Arranged by Cherry, Gordon. Baroque. Score and parts. ...
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Small Ensemble Piano,Tenor Trombone - Level 5 - SKU: A0.810878 Composed by Johann Sebastian Bach. Arranged by Cherry, Gordon. Baroque. Score and parts. 16 pages. Gordon Cherry #3667939. Published by Gordon Cherry (A0.810878). Originally for two violins and orchestra, this work has been transcribed for two tenor trombones and piano by Gordon Cherry, principal trombonist of the Vancouver Symphony. One of Bach's greatest compositions is now available for advanced trombonist(s) who can read tenor clef. The work has been transposed down one full step from the original key of D minor to C minor. High C is the highest note requiring two advanced players. This transcription sounds amazing and is a fantastic showpiece for two trombonists & piano. It even sounds great with just the two trombone parts without piano.
$15.00
Personet Armonia (trombones or sackbuts)
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Classique
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Anonymous
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Drake Mabry
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Personet Armonia
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Drake Mabry
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SheetMusicPlus
Brass Ensemble Trombone - SKU: A0.799487 Composed by Anonymous. Arranged by Drake Mabry. Classical. Score and parts. 7 pages. Drake Mabry #3079037. Publ...
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Brass Ensemble Trombone - SKU: A0.799487 Composed by Anonymous. Arranged by Drake Mabry. Classical. Score and parts. 7 pages. Drake Mabry #3079037. Published by Drake Mabry (A0.799487). Personet Armonia comes from a collection of music composed in Cyprus during the beginning of the 15th century. Many French musicians and composers were active at the Cypriot court, and the town of Nicosia became one of the most important centers of the Ars Subtilior style. This piece provides a perfect introduction to the beautiful and mysterious world of this 14th and 15th century musical style. The duration is 3'50. The King, Janus I de Lusignan (1374-1432), was one of the most important figures in the music life of Cyprus. His daughter Anna, upon her marriage to Louis, Count of Geneva, took with her a thick manuscript, written between 1413 and 1426. It consists of 159 folios containing over two hundred polyphonic compositions both sacred and secular. Two peculiarities make this manuscript unique: first, not a single composer is mentioned by name; and second, each work is without exception a unique copy: not one has ever been found in any other manuscript. This, then, is the only record of the Cypriot Ars Subtilior style. The central compositional concern of those working in the Cypriot Ars Subtilior style was the logical, consistent attainment of the polyphonic ideal. Each voice is completely independent of the others, and moves through the polyphonic fabric to form a contour of its own. As to rhythm, Cypriot compositional technique is extremely complex. Ample use was made of rhythmic novelties such as syncopation, color and proportion, and new note symbols permitted the representation of note values that had previously defied graphical rendering. Thus, metric accents in the different voices almost never coincide, and the laws of rhythm were at times out of joint. In fact, a rhythm that was regular and without syncopation would stand out immediately as particularly conspicuous detail. I have also adapted this trio in versions for either clarinets or recorders. Paul Van Nevel has recorded a version for three sackbuts with his Huelgas Ensemble.
$4.99
'Changing Landscapes' suite for Eb or Bb saxophone & Piano by Emma Arandjelovi
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the end of the movement howeve
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Emma Arandjelović
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'Changing Landscapes' suite fo
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Masquerade Music
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SheetMusicPlus
Instrumental Solo,Piano,Saxophone - Level 4 - SKU: A0.761542 Composed by Emma Arandjelović. 20th Century,Contemporary,Film/TV,Multicultural,World. S...
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Instrumental Solo,Piano,Saxophone - Level 4 - SKU: A0.761542 Composed by Emma Arandjelović. 20th Century,Contemporary,Film/TV,Multicultural,World. Score and individual part. 39 pages. Masquerade Music #6120357. Published by Masquerade Music (A0.761542). Changing Landscapes for saxophone and piano was written by Scottish composer Emma Arandjelović and consists of three beautifully musically descriptive parts of a journey... It is aimed at saxophonists of around grade 4-6 level and is a refreshing addition to anyone's sheet music library.Two of the three pieces were recently chosen to be included on ABRSM's (The Associated Board of the Royal School of Music) Eb and Bb exam syllabus (from 2022 onwards). 'Leaving' as chosen for grade 7, and 'Changing Landscapes' for grade 6.Please view the YouTube video for the full suite. This PDF book comes with; Universal saxophone part (so playable on ANY saxophone), two piano accompaniment parts (one for Eb sax, the other for Bb sax) and full demonstration and accompaniment backing tracks (for both Eb, and Bb saxophones) which are available free of charge on request (see details on your sheet music after printing out). Leaving starts us on our travels, and you can feel the slightly optimistic viewpoint initially as the saxophone and piano playfully sing. A little later however it's as though doubts and anxieties have crept in... (included on Grade 7 ABRSM exams from 2022 onwards).Changing Landscapes (movement 2) propels us forward through twists and turns, almost as if the thoughts are in equal turmoil as the scenery that rushes by. By the end of the movement however, it's very much like these have been resolved, and a peace and newly found optimism is evident in the final movement. (included on Grade 6 ABRSM exams from 2022 onwards).Turning Point (movement 3) is both playful (with its 5/4 time signature) and full of hope as the future comes into view with fresh new beginnings.....
$12.50
Sonnet 29 "When in Disgrace with Fortune and Men's Eyes" Art Song for Baritone (or Bass) Piano
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James Nathaniel Holland
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Sonnet 29 "When in Disgra
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James Nathaniel Holland
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SheetMusicPlus
Low Voice,Vocal Solo - Level 3 - SKU: A0.730322 Composed by James Nathaniel Holland. Concert,Contemporary,Holiday,Love. 12 pages. James Nathaniel Hollan...
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Low Voice,Vocal Solo - Level 3 - SKU: A0.730322 Composed by James Nathaniel Holland. Concert,Contemporary,Holiday,Love. 12 pages. James Nathaniel Holland #2891389. Published by James Nathaniel Holland (A0.730322). The sonnet of William Shakespeare set to music and arranged for orchestra and Baritone (or Bass with upper notes). (Range A2 to E4) The piece begins loud and dramatically with crashes and booms, then contrasts with a beautiful and romantic second part. Orchestral accompaniment available, sold separately. This art song is from A Cycle of Sonnets Music by 21st century, American composer James Nathaniel Holland SONNET 29 When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state And trouble deaf heaven with my bootless cries And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings. YouTube video presentation (with Tenor and orchestra): https://www.youtube.com/watch?v=ry0b9cLOYc4 (The sample attached here includes a synthesizer.)James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles.
$4.50
When the World Drops In to Town
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David Kai
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David Kai
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When the World Drops In to Tow
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David Kai
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SheetMusicPlus
Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - SKU: A0.1105258 By David Kai. By David Kai. Arranged by David Kai. Ce...
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Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - SKU: A0.1105258 By David Kai. By David Kai. Arranged by David Kai. Celtic,Country,Folk,Irish. Full Performance. Duration 233. David Kai #708518. Published by David Kai (A0.1105258). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song features the use of an Ugly Stick, a traditional Newfoundland percussion instrument. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! “Take it all to help the plane people, it’s the least that we can do!†Aunt Winnie baked two dozen of her partridgeberry pies She said, “I think those plane people will be in for some surprise!†So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:.
$1.99
Three Chorales for Three Trombones
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Contemporain
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Edwin Mclean
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Three Chorales for Three Tromb
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Edwin McLean
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SheetMusicPlus
Small Ensemble - SKU: A0.969267 Composed by Edwin Mclean. Contemporary. Score and parts. 8 pages. Edwin McLean #5996639. Published by Edwin McLean (A0.9...
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Small Ensemble - SKU: A0.969267 Composed by Edwin Mclean. Contemporary. Score and parts. 8 pages. Edwin McLean #5996639. Published by Edwin McLean (A0.969267). A solemn group of three chorales in a style reminiscent of the Renaissance. Although easy enough to be played by students, these short chorales would sound great in a large church or cathedral. The attached audio file contains all three movements. BTW, Trombone I has two versions: one in tenor clef and the other in bass clef. An excellent opportunity for a student to learn to read tenor clef.
$12.95
Personet Armonia (clarinets)
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Classique
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Anonymous
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Drake Mabry
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Personet Armonia
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Drake Mabry
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SheetMusicPlus
Small Ensemble B-Flat Bass Clarinet,B-Flat Clarinet - Level 3 - SKU: A0.799485 Composed by Anonymous. Arranged by Drake Mabry. Classical. Score and part...
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Small Ensemble B-Flat Bass Clarinet,B-Flat Clarinet - Level 3 - SKU: A0.799485 Composed by Anonymous. Arranged by Drake Mabry. Classical. Score and parts. 7 pages. Drake Mabry #3079033. Published by Drake Mabry (A0.799485). Personet Armonia comes from a collection of music composed in Cyprus during the beginning of the 15th century. Many French musicians and composers were active at the Cypriot court, and the town of Nicosia became one of the most important centers of the Ars Subtilior style. This piece provides a perfect introduction to the beautiful and mysterious world of this 14th and 15th century musical style. The duration is 3'50. The King, Janus I de Lusignan (1374-1432), was one of the most important figures in the music life of Cyprus. His daughter Anna, upon her marriage to Louis, Count of Geneva, took with her a thick manuscript, written between 1413 and 1426. It consists of 159 folios containing over two hundred polyphonic compositions both sacred and secular. Two peculiarities make this manuscript unique: first, not a single composer is mentioned by name; and second, each work is without exception a unique copy: not one has ever been found in any other manuscript. This, then, is the only record of the Cypriot Ars Subtilior style. The central compositional concern of those working in the Cypriot Ars Subtilior style was the logical, consistent attainment of the polyphonic ideal. Each voice is completely independent of the others, and moves through the polyphonic fabric to form a contour of its own. As to rhythm, Cypriot compositional technique is extremely complex. Ample use was made of rhythmic novelties such as syncopation, color and proportion, and new note symbols permitted the representation of note values that had previously defied graphical rendering. Thus, metric accents in the different voices almost never coincide, and the laws of rhythm were at times out of joint. In fact, a rhythm that was regular and without syncopation would stand out immediately as particularly conspicuous detail. This trio also exists in my adapted versions for either recorders or trombones. Paul Van Nevel has recorded a version for three sackbuts with his Huelgas Ensemble.
$4.99
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental parts: 2 pg. ea. Duration: ca. 3:00 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
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
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Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. 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 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
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole) (mp3)
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David Warin Solomons
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The Poohratorio
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David Warin Solomons
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SheetMusicPlus
Guitar,Medium Voice - Level 3 - SKU: A0.1271084 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Full Performance. ...
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Guitar,Medium Voice - Level 3 - SKU: A0.1271084 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Full Performance. Duration 1608. David Warin Solomons #863477. Published by David Warin Solomons (A0.1271084). Here is my 1976 Oratorio on Winnie the Pooh (Poohratorio) for alto voice, spoken parts, guitar and various optional other instrumentsGreat fun for young and old. It uses the whole of Chapter 8 of A A Milne's Now we are six -The expotition to the North Pole, which is now in the public domain in the USA.CHAPTER 8 ...IN WHICH CHRISTOPHER ROBIN LEADS AN EXPOTITION TO THE NORTH POLEONE fine day Pooh had stumped to the top of the Forest to see if his friend Christopher Robin was interested in Bears at all. At breakfast that morning (a simple meal of marmalade spread lightly over a honeycomb or two) he had suddenly thought of a new song. It began like this:Sing Ho! For the life of a Bear.When he had got as far as this, he scratched his head, and thought to himself That's a very good start for a song, but what about the second line? He tried singing Ho, two or three times, but it didn't seem to help. Perhaps it would be better, he thought, if I sang Hi for the life of a Bear. So he sang it . . . but it wasn't. Very well, then, he said, I shall sing that first line twice, and perhaps if I sing it very quickly, I shall find myself singing the third and fourth lines before I have time to think of them, and that will be a Good Song. Now then:Sing Ho! for the life of a Bear! Sing Ho! for the life of a Bear! I don't much mind if it rains or snows, 'Cos I've got a lot of honey on my nice new nose! I don't much care if it snows or thaws, 'Cos I've got a lot of honey on my nice clean paws! Sing Ho! for a Bear! Sing Ho! for a Pooh! And I'll have a little something in an hour or two! He was so pleased with this song that he sang it all the way to the top of the Forest, ... etc.
$10.50
Sullivan: The Lost Chord for Baritone Horn & Piano
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Sir Arthur Seymour Sullivan
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James M
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Sullivan: The Lost Chord for B
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 4 - SKU: A0.552854 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,...
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Baritone Horn TC,Euphonium,Piano - Level 4 - SKU: A0.552854 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497277. Published by jmsgu3 (A0.552854). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
Come, Now Is the Time to Worship
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Musique Sacrée
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Brian Doerksen
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Brian Doerksen
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Arnold B
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Come, Now Is the Time to Worsh
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Hope Publishing - Digital
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SheetMusicPlus
Brass, Guitar, Percussion, Rhythm - Level 3 - SKU: H1.C5539RDP Composed by Brian Doerksen. Arranged by Arnold B. Sherman. Sing & Ring Series. Contempora...
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Brass, Guitar, Percussion, Rhythm - Level 3 - SKU: H1.C5539RDP Composed by Brian Doerksen. Arranged by Arnold B. Sherman. Sing & Ring Series. Contemporary, Gathering, General Worship, Call To Worship, Worship. Parts. 37 pages. Hope Publishing - Digital #C5539RDP. Published by Hope Publishing - Digital (H1.C5539RDP). By Brian Doerksen. Psalms 29:2 - Psalms 95:6 - Psalms 95:9 - Psalms 100:2 - Isaiah 55:1 - Philippians 2:5 - Philippians 2:6 - Philippians 2:7 - Philippians 2:8 - Philippians 2:9 - Philippians 2:10 - Philippians 2:11 - 2 Corinthians 6:1 - 2 Corinthians .Popular praise and worship song by Brian Doerksen Utilizing handbells, SATB choir and praise band, Arnold Sherman brings both traditional and contemporary elements together in this dynamic new setting of Brian Doerksen's popular praise and worship song. The combination of these forces in this ring & sing arrangement is the perfect opportunity to bring all of your church musicians together for a powerful worship presentation. The 3-5 octave handbell accompaniment and rhythm parts are optional. The bell setting can be performed alone or with the guitar, bass, drums and alto sax, which are included in the separate Rhythm Parts. The Rehearsal/Performance CD includes two tracks, one of bells and rhythm and the other of just the rhythm that can be used to accompany a bell choir.
$34.95
Solo Book for Winds - Saxophone
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David Marchand and Elizabeth B
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David Marchand and Elizabeth B
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Solo Book for Winds - Saxophon
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Imagine Music - Digital
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SheetMusicPlus
Saxophone and piano - Grade 1 - SKU: IZ.FSW091S Composed by David Marchand and Elizabeth Borowsky. Score and Parts. 47 pages. Imagine Music - Digital #F...
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Saxophone and piano - Grade 1 - SKU: IZ.FSW091S Composed by David Marchand and Elizabeth Borowsky. Score and Parts. 47 pages. Imagine Music - Digital #FSW091S. Published by Imagine Music - Digital (IZ.FSW091S). 9 x 12 in inches.By David Marchand and Elizabeth Borowsky. This collection of original songs is designed for students who have studied their instruments for a limited time (Level 1-2). The songs in the collection are approximately one minute in length and are in keys and meters commonly found in most instrumental methods. The ranges of the songs seldom go above one octave. There are fourteen songs in the collection sequenced by level of difficulty. There is great variety within the collection as each of the songs as its own unique character. For each song, there is a solo score and a solo/piano-accompaniment score. As an aid, the collection includes a CD with two tracks: one with only the solo part, one with only the accompaniment part. Although the accompaniments sound musically sophisticated, they were designed to be playable by the younger pianist. In the event that no pianist is available, the soloist could use the CD as his or her accompaniment. [CD available from the publisher] March Petite: Goin Baroque: Spanish Dance:.
$16.00
Be Kind to Your Loved Ones for 13-note Bells and Boomwhackers® (with Black and White Notes)
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Sharon Wilson
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Sharon Wilson
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Be Kind to Your Loved Ones for
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Sharon Wilson
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SheetMusicPlus
Large Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Multi-Percussion,Orff Instrument,Recorder,Ukulele,Voice,Xylophone - Level 1 - SKU: A0.5652...
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Large Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Multi-Percussion,Orff Instrument,Recorder,Ukulele,Voice,Xylophone - Level 1 - SKU: A0.565232 By Sharon Wilson. By I. B. Woodbury. Arranged by Sharon Wilson. Children,Folk,Holiday,Instructional,Traditional. Score and parts. 11 pages. Sharon Wilson #3624957. Published by Sharon Wilson (A0.565232). This sheet music is notated for 13-note (one octave, C to C chromatic scale) instruments with Handbells on one staff and Boomwhackers® on a second staff creating an instrumental ensemble (requires one set of each instrument). Handbells play the melody while the Boomwhackers® keep a steady beat with three-note chords. Included in this set of scores is a combined score with both instrument parts on a grand staff plus a separate score for each instrument. A note and chord reference chart is also providedThough this sheet music is notated for Handbells and Boomwhackers®, this song is playable by any 13-note, C to C chromatic scale (one octave) instrument such as a xylophone or glockenspiel. The melody could also be played by a recorder.This set of scores uses black and white noteheads and is best suited for musicians already familiar with reading standard music notation. For beginning musicians, this same set of scores is available (sold separately) with color coded noteheads.Only filled noteheads (quarter and eighth notes) are used so the notes are easier to see (this does not indicate the bells need to be silenced immediately before the next beat). Also, only quarter rests are used to help visualize the number of beats per measure. Lyrics and chord names are provided as well to aid in the learning and teaching of this song.The number of ringers and whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two or three notes. For beginners, it is best to assign one or two notes to each person. Instrument assignment suggestions are provided.Other suggestions and uses: * have both parts played by bells or both parts played using only Boomwhackers® * form a choir using multiple sets of bells and/or Boomwhackers® (this would amplify the sound and allow more people to participate)* use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, children’s ministriesThis song is one of the 20 arrangements in the collection Folk Songs for 13-note Bells and Boomwhackers® (with Black and White Notes), VOL. 1. Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
Al Circo (To the Circus) for Trombone and Harp
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Contemporain
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Stout, David
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Setzer, Louis
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Al Circo
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Cherry Classics Music
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SheetMusicPlus
Trombone, Harp - Advanced - Composed by Stout, David. Arranged by Setzer, Louis. 20th Century, Contemporary Classical, Modern, Post- Modern, Neo-Clas...
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Trombone, Harp - Advanced - Composed by Stout, David. Arranged by Setzer, Louis. 20th Century, Contemporary Classical, Modern, Post- Modern, Neo-Classical. Set of Parts. 22 pages. Published by Cherry Classics Music
Al Circo (To the Circus) was written in 1968 by David Stout, dedicated to Emory Remington and was premiered by Trombonist Fred Boyd on a recital at the Eastman School of Music with Carolyn Kuban performing on the Harp. The work is in two movements, both in a lighter nature and humorous. Mute colors are an important part of the mood of the work.
David Stout writes about his work:
"I wrote this when I was a junior at the Eastman School of Music. Fred Boyd, a bass trombonist, wanted to play it. At the bottom of page 4, on the trombone part, where it says ?hand in bell? he had a problem. With a bass trombone he couldn?t reach around far enough to put his hand in deep enough to distort the tone enough. So, he calls me into his practice room one day and tells me to turn around so I can?t see him. He then plays that passage. ?Is that the sound you want?? he asks. ?Yeah that?s it. Perfect!? I reply. I turn around. He shows me a large plastic fish that he had used to shove in the bell. So on his part, we mark those notes, ?con sardino.?
Dr. Louis Setzer, the author of Solo Literature for Trombone and Harp - An Annotated Bibliography, rediscovered the work and received permission from the composer to edit the composition from the original pencil manuscript. He believes this work is the oldest known original composition for Trombone and Harp
This fine work is appropriate for advanced performers and is about 7 minutes in length.
$25.00
Oneness in This World (clarinet, cello, piano)
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Jeffrey Hoover
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Oneness in This World
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Musicart Publications
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SheetMusicPlus
Instrumental Duet,Piano Cello,Clarinet,Instrumental Duet,Piano - Level 4 - SKU: A0.971656 Composed by Jeffrey Hoover. 20th Century,Contemporary,Spiritua...
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Instrumental Duet,Piano Cello,Clarinet,Instrumental Duet,Piano - Level 4 - SKU: A0.971656 Composed by Jeffrey Hoover. 20th Century,Contemporary,Spiritual. Score and parts. 47 pages. Musicart Publications #5719085. Published by Musicart Publications (A0.971656). Set in two movements, the music of Oneness in This World represents two things necessary for humanity to move together: Unity and Joy.In the first movement, the music evolves from tension and musical discord to unity and harmony. While much of the drama is heard through the interaction of the clarinet and cello, the piano provides a key factor throughout the second part of the first movement through foundational chaconne variations. As the harmonic progression repeats, the clarinet and cello become more aligned in their music yet maintaining a sense of individuality. Without unity and informed agreement, a society cannot truly benefit its people. Unity is strongest within diversity, contributing to growth, and moving towards a common goal to benefit all.In the second movement, all three musicians share equally in the production of the state of joy. The varied tone colors of the instruments, shifting meters, and dancing music all provide energy and emotions suggesting joy. Joy is a certainty of the goodness of life, in spite of sorrows or pain or even tragedy. Joy gives us wings to transcend our situation, opens us to our potential, and helps us become who we are to be. Joy comes from faith and belief of value and purpose for our life and its beauty.As with other musical compositions of mine, there are two paintings– a diptych –titled Unity and Joy which I created to visually interpret the music. –Jeffrey HooverThis edition is set to print correct page turns, back-to-back.Jeffrey Hoover's work– music ranging from soloist to symphony orchestra –has received recognition through the prestigious Trieste prize, the SMP/Universal Edition composition award for contemporary music, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, the L. Russolo competition, grants, publications fellowships, and more than 25 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer.One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Whether making interdisciplinary works, or traditional stand-alone sonic or visual art, Hoover shapes his work through inner vision and practical experience. Jeffrey Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.Jeffrey Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as a M.M. and Bch.Sc. from Ball State University. His career in higher education has included both music faculty and arts administrative appointments.For questions about this music, how he combines his music with his paintings or other inquiries, please visit his website or contact the composer directly:jeffreyhooverart@gmail.comhttps://jeffreyhooverart.wixsite.com/mysite
$21.95
It Takes Two To Make It Happen
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Pop musique
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Tower Of Power
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Zeller-Elsässer Dieter
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It Takes Two To Make It Happen
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Ndm-Noten
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SheetMusicPlus
Large Ensemble B-Flat Trumpet,Drums,E-Flat Alto Saxophone,E-Flat Baritone Saxophone,Electric Bass Guitar,Electric Guitar,Keyboard,Medium-High Voice,Tenor Saxoph...
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Large Ensemble B-Flat Trumpet,Drums,E-Flat Alto Saxophone,E-Flat Baritone Saxophone,Electric Bass Guitar,Electric Guitar,Keyboard,Medium-High Voice,Tenor Saxophone,Trombone - Level 3 - SKU: A0.1132313 By Tower Of Power. By Chester Thompson, Emilio Castillo, John Garibaldi, and Stephen Kupka. Arranged by Zeller-Elsässer Dieter. Pop. Score and parts. 22 pages. Ndm-Noten #732559. Published by Ndm-Noten (A0.1132313). Solo-Arrangement.
$12.99
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