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TRI ET FILTRES
Tri et filtres :
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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
COR ANGLAIS
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CORNET
DEEJAY
DIDGERIDOO
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FANFARE - BAND…
FLUTE A BEC
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FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
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MANDOLINE
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Non classifié
710
PIANO & CLAVIERS
Piano seul
403
Piano, Voix
198
Piano Facile
130
Piano, Voix et Guitare
105
Accompagnement Piano
58
Instruments en Do
43
Orgue
29
Piano Trio: piano, violon, violoncelle
11
2 Pianos, 4 mains
9
1 Piano, 4 mains
5
Piano Quatuor: piano, 2 violons, violoncelle
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Accordéon
1
Clavecin
1
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GUITARES
Guitare
50
Guitare notes et tablatures
35
Ligne De Mélodie, (Paroles) et Accords
11
2 Guitares (duo)
9
Ukulele
6
Mandoline
5
Basse electrique
4
Banjo
4
3 Guitares (trio)
2
Orchestre à Plectres
1
Paroles et Accords
1
4 Guitares (Quatuor)
1
Dulcimer
1
Instrumentations suivantes
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VOIX
Chorale SATB
247
Voix Tenor, Piano
43
Voix Soprano, Piano
43
Chorale 3 parties
35
Voix Alto, Piano
32
Voix Baryton, Piano
31
Chorale 2 parties
27
Chorale TTBB
21
Chorale SSAA
17
Chorale Unison
14
Voix duo, Piano
5
Voix duo
4
Voix haute
4
Voix moyenne, Piano
4
Chorale SSATTB
2
Voix Tenor
2
Soli, choeur mixte et accompagnement
1
Voix basse, Piano
1
Voix Mezzo-Soprano, Piano
1
Chorale
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
72
Quatuor de Saxophones: 4 saxophones
64
Clarinette et Piano
61
Saxophone Alto et Piano
57
2 Saxophones (duo)
56
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
56
Hautbois, Piano (duo)
53
Saxophone Soprano et Piano
42
Saxophone Tenor et Piano
41
Quintette de Saxophone: 5 saxophones
40
Clarinette
38
Saxophone Baryton, Piano
35
Saxophone Alto
35
2 Flûtes traversières (duo)
34
Hautbois (partie séparée)
33
Flûte traversière
32
Flûte, Hautbois, Clarinette, Basson
27
3 Saxophones (trio)
26
Cor anglais, Piano
24
Quatuor de Clarinettes: 4 clarinettes
21
Flûte, Clarinette (duo)
17
Saxophone (partie séparée)
17
Clarinette Basse, Piano
16
Saxophone Tenor
15
Flûte à Bec
13
2 Clarinettes (duo)
13
3 Clarinettes (trio)
13
Clarinette, Violon (duo)
12
Saxophone, Clarinette (duo)
10
Quintette de Flûte : 5 flûtes
10
Quatuor de Flûtes à bec
10
Ensemble de Flûtes
9
Hautbois, Basson (duo)
8
2 Flûte à bec (duo)
8
Flûte à bec Soprano
8
Clarinette, Basson (duo)
7
Quatuor de Flûtes : 4 flûtes
7
Ensemble de saxophones
7
5 Flûtes à bec
7
Flûte, Violon
6
Clarinette et Alto
6
Hautbois, Clarinette (duo)
6
2 Hautbois (duo)
5
Clarinette, Trompette (duo)
5
Quintette de Clarinettes: 5 clarinettes
5
Hautbois, Flûte
5
3 Flûtes à bec (trio)
5
Ensemble de Clarinettes
5
Flûte, Alto (duo)
5
Flûte, Saxophone (duo)
4
Trio de Flûtes: 3 flûtes
4
Saxophone Soprano
4
Flûte à bec Alto
4
Flûte, Trompette (duo)
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Flûte irlandaise
3
Flûte, Hautbois (duo)
3
Hautbois, Violoncelle
3
Flûte, Hautbois, Clarinette (trio)
3
Flûte, Violoncelle
3
Piccolo, Piano
2
Flûte à bec Alto, Piano
2
Saxophone
2
Clarinette, Guitare (duo)
2
Hautbois
2
Clarinette, Violoncelle (duo)
2
Cor Anglais
2
Hautbois, violon (duo)
2
Saxophone Baryton
2
Flûte à bec Soprano, Piano
1
Flûte à bec Alto, Basse continue
1
Hautbois et alto (duo)
1
Flûte, Clarinette et Basson
1
Hautbois, Guitare (duo)
1
Ensemble de Hautbois
1
Saxophone et Orgue
1
Ocarina
1
Cornemuse
1
Flûte, Trombone (duo)
1
Cor anglais et Harpe (duo)
1
Clarinette, Harpe (duo)
1
Flûte et Guitare
1
Hautbois, Harpe
1
Clarinette, Trombone (duo)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
64
Trombone et Piano
38
Euphonium, Piano (duo)
34
Cor et Piano
33
Trompette
33
Quatuor de Cuivres : 2 trompettes, trombone, tuba
26
Trompette, Piano
25
Cor anglais, Piano
24
Trombone
22
Tuba
18
Cor
14
Tuba et Piano
13
Trompette, Trombone (duo)
9
Trompette, Saxophone (duo)
8
Quatuor de cuivres: 4 trombones
7
Quatuor de Cuivres
6
Ensemble de Trompettes
6
2 Trompettes (duo)
6
Trompette, Cor (duo)
5
2 Trombones (duo)
5
Ensemble de Trombones
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Ensemble de Cors
4
Quatuor de cuivres: 4 trompettes
3
4 Tubas
3
Trompette (partie séparée)
2
Trombone basse et Piano
2
Quatuor de cuivres: 4 cors
2
3 Trombones (trio)
2
Trombone, Cor (duo)
2
2 Euphoniums et 2 Tubas
2
Cor Anglais
2
Trombone (partie séparée)
2
2 Cors (duo)
2
2 Euphoniums (duo)
1
Tuba et Orgue
1
Ensemble de Tubas
1
Cor et Basson (duo)
1
Trompette, Violoncelle et Piano
1
Trombone, Tuba (duo)
1
Cor anglais et Harpe (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
128
Violon et Piano
86
Violoncelle, Piano
55
Violon
45
Alto, Piano
43
Violoncelle
42
Violon, Violoncelle (duo)
37
Alto seul
25
Harpe
24
2 Violons (duo)
22
Violon, Alto (duo)
20
Trio à Cordes: violon, alto, violoncelle
17
2 Violoncelles (duo)
14
2 Altos (duo)
11
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
Trio à Cordes: 2 violons, violoncelle
9
4 Violoncelles
8
Alto (partie séparée)
8
Alto, Violoncelle (duo)
8
Contrebasse, Piano (duo)
7
Contre Basse
7
Trio à Cordes: 3 violoncelles
6
Quatuor à cordes : 4 altos
5
Quatuor à cordes: 4 violons
5
Piano Trio: Violon, Alto, Piano
4
Trio à cordes: 3 altos
4
Trio à cordes: 3 violins
4
Harpe, Voix
4
Ensemble de Violons
3
Violoncelle , Guitare (duo)
3
Harpe, Flûte (duo)
2
Violon, Basson (duo)
2
Violon, Guitare (duo)
1
Violoncelle, Contrebasse (duo)
1
Ensemble d'Altos
1
Contrebasse (partie séparée)
1
Harpe, Violon (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
105
Orchestre
67
Ensemble Jazz
40
Orchestre à Cordes
38
Orchestre de chambre
34
Ensemble de cuivres
22
Ensemble de Percussions
8
Jazz combo
5
Cloches
4
Ensemble d'École
3
Quintette de Cuivres: autres combinaisons
2
Fanfare
2
Vibraphone
2
Batterie
2
Orchestre, Violon
1
Piano et Orchestre
1
Instrumentation Flexible
1
Percussion (partie séparée)
1
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AUTRES
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Who's That Man
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Managed to a Moment
Book - Digital Download SKU: LX.75-1063H Success in the Elementary Music Classro…
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Book - Digital Download SKU: LX.75-1063H Success in the Elementary Music Classroom. General Music. Classroom Music. 114 pages. Heritage Music Press #e75/1063H. Published by Heritage Music Press (LX.75-1063H). ISBN 9780787766085. Text: Mari Schay.Here’s a lifeline for anyone who’s had a frustrating day, week, or month in the elementary music classroom--and that, of course, includes all of us. Teaching music is hard. This insightful and affirming book makes it easier, outlining strategies for all the details that make your classroom a successful learning environment. You’ll learn ways to manage yourself and your workload; your relationships with colleagues, students, and families; and how to plan and deliver curriculum.
$34.95
31.57 €
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Managed to a Moment
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Heritage Music Press
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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
2.39 €
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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
1. Symphonie
3 (auch 3 Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 · Kfg. – 4 …
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3 (auch 3 Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 · Kfg. – 4 · 3 · 3 · 1 – P. S. (Trgl. · 2 Gongs· Gl. · Beck. · Tomt. · Rührtr. · kl. Tr. · gr. Tr. · Vibr.) (4 Spieler) – Cel. · Klav. · Hfe. – Str. altovoice and orchestra - Digital Download SKU: S9.Q2283 Versuch eines Requiems. Composed by Karl Amadeus Hartmann. This edition: study score. Music Of Our Time. Downloadable, study score. Duration 35 minutes. Schott Music - Digital #Q2283. Published by Schott Music - Digital (S9.Q2283). English.Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. - Hans Werner Henze, in: Hartmann: Kleine Schriften.
$33.99
30.7 €
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Karl Amadeus Hartmann
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1. Symphonie
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Schott Music - Digital
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SheetMusicPlus
Telemann – Polish Dances from the Rostock Manuscript TWV 45
Small Ensemble - Level 1 - Digital Download SKU: A0.890779 Composed by Georg Philip…
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Small Ensemble - Level 1 - Digital Download SKU: A0.890779 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Folk,Jewish,World. Score and parts. 32 pages. Sneakwood Editions #5799897. Published by Sneakwood Editions (A0.890779). Georg Philipp Telemann – Polish Dances from the Rostock Manuscript TWV 45 (Danse d`Polones / Danse Polonie)Telemann was seduced by Polish music, especially by his dances and popular musicI became acquainted there and also in Krakau with Polish and Moravian music in its true, barbaric beauty […] […] it is impossible to imagine the fantastic musical ideas they presented between dances when the dancers rested and the musicians improvised music together [‘jammed’] to fill out the time. Anyone who paid very close attention could pick up in 8 days sufficient musical ideas to last a lifetime.(Telemann’s autobiography, published in Mattheson’s Ehren-Pforte, Hamburg, 1740)It is easy to understand, through Telemann’s own words, the great influence that Polish music and Polish dances had on Telemann. It was in 1705 when Telemann become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau (now Żary, in Poland), His career there was cut short in early 1706 by the hostilities of the Great Northern War but his contact with Polish music marked him for life.These Polish dances found in Rostock are a reflection of the music that Telemann heard and transcribed. A reflection of that barbaric beauty.The manuscript was discovered in 1986 at the University of Rostock. It consists of two volumes. One of the volumes contains the violin part and the other the bass part.
$18.00
16.26 €
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Georg Philipp Telemann
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Sneakwood Editions
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Telemann – Polish Dances from the Rostock Manuscript TWV 45
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Sneakwood Editions
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SheetMusicPlus
Who's That Man
Guitar - Digital Download SKU: A0.1477622 By Toby Keith. By Toby Keith. Arranged by…
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Guitar - Digital Download SKU: A0.1477622 By Toby Keith. By Toby Keith. Arranged by Bronson Ferdinand Wright. Country,Instructional,Pop,Rock,Singer/Songwriter. Chords/Lyrics. 2 pages. Bronson Ferdinand #1055005. Published by Bronson Ferdinand (A0.1477622). Guitar chord lead sheet of the classic Toby Keith song.This version is of the radio edit which is the same edit used in the music. It does not include the guitar solo and one chorus is missing. The full version from Boomtown is also available.
$4.99
4.51 €
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Toby Keith
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Bronson Ferdinand Wright
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Who's That Man
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Bronson Ferdinand
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SheetMusicPlus
Who's That Man
Guitar - Digital Download SKU: A0.1477621 By Toby Keith. By Toby Keith. Arranged by…
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Guitar - Digital Download SKU: A0.1477621 By Toby Keith. By Toby Keith. Arranged by Bronson Ferdinand Wright. Country,Instructional,Pop,Rock,Singer/Songwriter. Chords/Lyrics. 2 pages. Bronson Ferdinand #1055003. Published by Bronson Ferdinand (A0.1477621). Guitar chord lead sheet of the classic Toby Keith song.This is the full version from the album Boomtown and includes the guitar solo section.
$4.99
4.51 €
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Toby Keith
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Bronson Ferdinand Wright
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Who's That Man
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Bronson Ferdinand
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SheetMusicPlus
Eve’s Diary
Guitar and voice - Intermediate - Digital Download SKU: ZY.DO-1538 Composed by Davi…
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Guitar and voice - Intermediate - Digital Download SKU: ZY.DO-1538 Composed by David Leisner. Score. 23 pages. Les Editions Doberman-Yppan (digital) #DO 1538. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1538). When guitarist John Olson and soprano Gioia De Cari commissioned me to write a piece for them, I envi- sioned writing something theatrical that might especially suit Gioia, who is both a singer and an actress. Eventually, I thought of Mark Twain. The great American writer and humorist of substance wrote a short, little-known book called The Diary of Adam and Eve, which is, of course, about the first days of human life on this earth, in Twain’s witty, but touching take on the Bible story. Adam and Eve each write diary entries. I chose several passages from Eve’s diary that convey the sense of constant wonder that she felt because absolutely everything in her world was new.Setting prose, rather than poetry, is a challenge for a composer because it has neither the innate rhythm nor the lyricism of poetry. On some intuitive level, this challenge led me to a process that allowed the music to evolve mostly from the guitar part. Whereas normally the vocal melody might emerge first, motivated by the text and with the accompaniment then added for support, here the guitar part was the prime mover. An example of this is the last song, which is a passacaglia played by the guitar, providing the ground over which the vocal line can soar. Eve’s Diary was composed in 2015.Lorsque le guitariste John Olson et la soprano Gioia De Cari m'ont commandé une pièce pour eux, j'ai imaginé écrire quelque chose de théâtral qui pourrait particulièrement convenir à Gioia, qui est à la fois chanteuse et actrice. Finalement, j'ai pensé à Mark Twain. Le grand écrivain et humoriste américain a écrit un petit livre peu connu intitulé Le Journal d'Adam et Ève, qui raconte les premiers jours de la vie humaine sur terre selon l'interprétation spirituelle et espiègle de Twain de l'histoire biblique. Adam et Ève tiennent chacun un journal. J'ai choisi plusieurs passages du journal d'Ève qui expriment ce sentiment d'émerveillement constant qu'elle ressentait, car absolument tout dans son monde était nouveau.Mettre en musique de la prose, plutôt que de la poésie, est un défi pour un compositeur car elle n'a ni le rythme inné ni le lyrisme de la poésie. Intuitivement, ce défi m'a conduit à un processus qui a permis à la musique d'évoluer principalement à partir de la partie de guitare. Alors que normalement la mélodie vocale pourrait émerger en premier, motivée par le texte et avec l'accompagnement ajouté ensuite pour le soutien, ici la partie de guitare était le moteur principal. Un exemple en est la dernière chanson, qui est une passacaille jouée à la guitare, fournissant le fond sur lequel la ligne vocale peut s'élever. Le Journal d'Ève a été composé en 2015.
$10.95
9.89 €
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David Leisner
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Eve’s Diary
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Les Editions Doberman-Yppan
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SheetMusicPlus
The Flying Dutchman
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
38.83 €
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download 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
27.05 €
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Paul Wehage
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
O Taste and See that the Lord Is Good (Piano Accompaniment Track)
Choir,Piano,Voice - Digital Download SKU: A0.1065649 Composed by Carol Troutman Wig…
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Choir,Piano,Voice - Digital Download SKU: A0.1065649 Composed by Carol Troutman Wiggins. Christian,Sacred,Standards. Accompaniment. Duration 143. Carol Troutman Wiggins #4111633. Published by Carol Troutman Wiggins (A0.1065649). O TASTE AND SEE THAT THE LORD IS GOOD (Piano Track)2-Part Mixed or Equal VoicesWith text adapted from Psalm 34, the message of this upbeat and energetic song is that we should see the Lord's goodness and fear Him! O taste and see that the Lord is good; Blessed is the man who trusts in Him! Oh, fear the Lord, you His saints! There is no want to those who fear Him. But those who seek the Lord shall not lack any good thing. Come, you children, listen to me; I will teach you the fear of the Lord. The eyes of the Lord are on the righteous, and His ears are open to their cry. The righteous cry out, and the Lord hears, and delivers them out of all their troubles. The Lord is near to those who have a broken heart, and saves those that have a contrite spirit. Excellent for advanced upper elementary and above, and any 2-part church choir. Syncopated melody and accompaniment High energy and excitement Excellent for concert, church anthem or offertory.
$9.99
9.02 €
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Carol Troutman Wiggins
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O Taste and See that the Lord Is Good
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Carol Troutman Wiggins
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SheetMusicPlus
Two Rondes from Susato's Danserye (1551)
String Ensemble - Level 2 - Digital Download SKU: A0.1034006 Composed by Tielman Su…
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String Ensemble - Level 2 - Digital Download SKU: A0.1034006 Composed by Tielman Susato. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 17 pages. Colin Kirkpatrick Publications #639328. Published by Colin Kirkpatrick Publications (A0.1034006). Unlike country dances, the formal dances of royal courts in the sixteenth century required a good deal of study and practice. Many dancing masters published self-help instructional books, especially in France and Italy. Composers and publishers saw a commercial potential in collections of dance music and one of the earliest collections was that by composer and publisher Tielman (or Tylman) Susato, who published his Danserye in Antwerp in 1551. These music books were usually arranged with four independent instrumental parts and intended for use by any instruments that happened to be available. They are attractive pieces and are sure to be popular at any concerts, public recitals or end-of-semester events. This arrangement is for virtually any string ensemble and the single PDF file includes a full score and parts for violin 1, violin 2, viola (violin 3), cello and bass (combined), keyboard and simple percussion. Two additional melody part are provided in the treble and bass clefs and the chords (for optional guitar) are shown in both keyboard and cello-bass parts. In the spirit of the original publication, you can add to the melody line any other C-pitch instruments that happen to be available. Even the additional of a couple of recorders will enhance the sound. Alternatively, you can do opposite and create a pleasing contrast by omitting various instruments for certain sections. The audio demo will give you an idea how this might be achieved. While you can add flute, recorder, oboe, glockenspiel or whatever you want, additional instruments are not essential but can add contrasting tone color. The keyboard part is intended as a guide and when possible, the keyboard player should feel free to improvise around the part and the chords shown. A digital or acoustic harpsichord sounds more authentic than a piano. Most electronic keyboards have a harpsichord option. The optional percussion instruments used are similar to those found in elementary school music rooms and usually include a tambor or hand-held drum, antique (finger) cymbals, wood-blocks and tambourine. Two or three players can be used (but feel free to add more) and the parts can be interpreted quite freely. Dance music is intended to be fun, and we hope that this arrangement brings you just that.
$8.99
8.12 €
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Tielman Susato
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Colin Kirkpatrick
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Two Rondes from Susato's Danserye
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Colin Kirkpatrick Publications
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SheetMusicPlus
Superwoman MP3 Accompaniment track
Bass Guitar,Drum Set,Keyboard - Level 3 - Digital Download SKU: A0.1404285 By Debor…
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Bass Guitar,Drum Set,Keyboard - Level 3 - Digital Download SKU: A0.1404285 By Deborah Johnson. By Deborah Johnson. Broadway,Comedy,Contemporary,Jazz,Musical/Show,Singer/Songwriter. Accompaniment. Duration 128. Deborah Johnson #987388. Published by Deborah Johnson (A0.1404285). Deborah Johnson's Superwoman is a vibrant tribute to the incredible strength of women worldwide. This is the MP3 accompaniment track without the lead vocal--it includes the backgrounds. This upbeat and energetic song celebrates the everyday feats of ordinary yet extraordinary women. Drawing from her own experiences, Deborah navigates the complexities of managing a household, navigating career changes, raising three children, maintaining a marriage, and all the challenges life throws her way. Through Superwoman, Deborah captures the resilience and determination required to juggle multiple roles and responsibilities, resonating with listeners who understand the struggle of holding everything together. Purchase the single MP3 here: https://amzn.to/3PvNCHK The piano/vocal sheet music with vocal lead sheet is also available for download Note from Deborah: Are you embracing your inner superheroine? I get it—navigating life's hurdles while donning our invisible capes can feel like a whirlwind circus act. To claim the title of Superwoman, you've got to juggle the whole shebang: home life, career acrobatics, kid wrangling, spouse wrangling (or partner wrangling, let's keep it inclusive), and just the general chaos of existence. It's the kind of balancing act that'd make a Cirque du Soleil performer jealous! Speaking from the trenches myself, I've done my fair share of plate-spinning: managing a household, enduring the rollercoaster ride of a career (complete with loop-de-loops), wrangling three sons who seem to have synchronized their mischief, keeping a marriage afloat through the stormy seas and dealing with the curveballs life tosses our way. And let's not forget society's laundry list of expectations: staying fit, maintaining a Pinterest-worthy home, being the rock for our loved ones... and that's not even touching on the culinary escapades! And let's raise a toast to the single moms out there, pulling off the ultimate juggling act—balancing multiple jobs, raising the next generation of superheroes, and keeping the household shipshape. They're the Superwomen on turbocharged overdrive! It's no wonder that the song Superwoman resonates with us—it's our anthem, our battle cry, and our reminder that we're all superheroes in our own right! Written, arranged and performed by Deborah Johnson. DEBORAH JOHNSON, is a National Recording Artist, Composer, Speaker and published Author. She has recorded dozens of albums, written 3 original musicals and has appeared on many stages around the country and world. She also appeared with the headliner piano/vocal duo Double Grande. Her internationally released bookshave garnered great reviews (on Amazon & Barnes & Noble) Deborah’s songs have also been up for multiple Grammy Awards. Music and Lyrics by Deborah Johnson. Basic production and piano tracking by Deborah. Backgrounds by Deborah and David Johnson. Additional production, guitars and bass by Michael Ferenci. Recorded at Ferenci Studios, Silverlake, CA. https://DJWorksMusic.com For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com, https://goalsforyourlife.com/ or https://DeborahJohnsonSpeaker.com YouTube Link https://youtu.be/YUOvivxjlsw?si=AGohZrZl1ErdkQTD
$8.99
8.12 €
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Deborah Johnson
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Barnes &
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Superwoman MP3 Accompaniment track
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Deborah Johnson
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SheetMusicPlus
Nobody Love a Fairy When She's Forty - in C major (soprano key)
Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.779671 Composed b…
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Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.779671 Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Traditional. Score. 4 pages. Kim Kirkman #6697501. Published by Kim Kirkman (A0.779671). This is a wonderful old comedy song.This is in C major - the high key for sopranosI have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.Words:Verse:For years a fairy queen I've bin', For years I foiled the demon king.But alas, I'm getting on, The years have flown somehow,And I feel that Fairy Snowdrop isn't wanted now.Chorus One:Nobody loves a fairy when she's forty.Nobody loves a fairy when she's old.She may still have her magic power, But that is not enough,They like their bit of magic from a younger bit of fluff.When once your silver star has lost its glitter,And your tinsel looks like rust instead of gold.Your fairy days are ending when your wand has started bending.Noone loves a fairy when she's old.Spoken:T'was I who found the magic wand, I will not tell you where.T'was I who found young Tinkerbell, her head was full of airI’ve been a fairy of the flowers, and fairy daffodils,I’ve been a fairy of the wind, and suffer from it still!In certain covered valley hills I go down to the glenBeen loved by all the children and run after by the men. Huh!Noone could touch me at me splits, me splits were all the rage,Until the night woodman left his chopper on the stage, what a mess!Verse 2:Nobody loves a fairy when she's forty.Nobody loves a fairy when she's old.As far as I can see they try to push you off the map,When once your wand has withered and your wings refuse to flap.When you have lost your little fairy dimples,And the mothholes in your dress let in the cold,It seems that they would sooner listen to a blinkin' crooner,Noone loves a fai-y when she's old!
$1.99
1.8 €
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Arthur Le Clerq
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Kim Kirkman
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Nobody Love a Fairy When She's Forty - in C major
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Kim Kirkman
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SheetMusicPlus
Suite No. 1
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Sco…
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Guitar - Advanced - Digital Download 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
9.89 €
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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
On That Cross (Piano part ONLY)
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard …
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 1 pages. Stuart Brown Music #782621. Published by Stuart Brown Music (A0.1182872). The accompanying score and a choral bundle are also available from this website.The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$1.99
1.8 €
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
On That Cross (choir pack + piano part + licence)
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard …
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 14 pages. Stuart Brown Music #782619. Published by Stuart Brown Music (A0.1182870). The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$16.00
14.45 €
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Away in a Manger - Silent Night
Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1116038 By Pol…
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Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1116038 By Polished Brass. By anonymous - Gruber. Arranged by Robert Coil. Chamber,Christmas,Holiday,Praise & Worship,Sacred. 12 pages. Polished Brass #717736. Published by Polished Brass (A0.1116038). This arrangement for brass quintet employs contemporary harmonies with the traditional melodies to provide a sound that is pleasing to the ear while making the pieces sound fresh. The top four voices take turns with the melody while the tuba sets a foundation with chromatic passing tones that should be given a little emphasis as they occur. Away in a Manger The first two verses are sometimes attributed to Martin Luther as “Cradle Hymnâ€, but definitive proof of Luther's authorship is missing. The most common version is based on words found in a Philadelphia Sunday School book by James Murray in 1885 titled “Luther's Cradle Songâ€. Silent Night Franz Gruber was an Austrian church organist at St Nicholas parish in Obernhof, a small town north of Salzburg. The priest at the church, Joseph Mohr wrote the poem Stille Nacht in 1816 and Gruber composed the music for guitar accompaniment for a Christmas eve service in 1818 because something, possibly a flood, had damaged the organ. So, rather than a keyboard composition, this was originally composed for guitar and voice. The composition was preserved by the man who fixed the organ and shared it with other churches as he traveled. Luckily a copy survived so that Mohr and Gruber could both be acknowledged for their creation.
$12.99
11.73 €
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Polished Brass
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Robert Coil
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Away in a Manger - Silent Night
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Polished Brass
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SheetMusicPlus
Somewhere That's Green
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1450389 By Various. By Alan Menken and Howard Ashman. Arranged by Max Stannard. Broadway,Musical/Show. Brass Band. 31 pages. Max Stannard Music #1030121. Published by Max Stannard Music (A0.1450389). Little Shop of Horrors is a horror comedy rock musical[1] with music by Alan Menken and lyrics and a book by Howard Ashman. The story follows a hapless florist shop worker who raises a plant that feeds on human blood and flesh. The musical is loosely based on the low-budget 1960 black comedy film The Little Shop of Horrors. The music, composed by Menken in the style of early 1960s rock and roll, doo-wop and early Motown, includes several well-known tunes, including the title song, Skid Row (Downtown), Somewhere That's Green, and Suddenly, Seymour. This arrangement of Somewhere That's Green features a Solo Tenor Horn in a very melodic number.
$24.99
22.57 €
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Various
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Max Stannard
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Somewhere That's Green
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Max Stannard Music
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SheetMusicPlus
Dawn in the Room for alto and guitar (words by S N Solomons) (mp3)
Alto Voice,Guitar - Digital Download SKU: A0.1059328 Composed by David Warin Solomo…
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Alto Voice,Guitar - Digital Download SKU: A0.1059328 Composed by David Warin Solomons. 20th Century. Full Performance. Duration 259. David Warin Solomons #2054329. Published by David Warin Solomons (A0.1059328). Score:https://www.sheetmusicplus.com/title/19984192?aff_id=175705Setting of the poem by S N Solomons based on Supervielle's L'Aube dans la chambre for alto and classical guitar. Performed by the composer ... The first light comes, touching the sleeping mind, stroking the head, confirming who it is. Colours prick through the window pane, with silent customary tread. Pale light from Palestine and Java leans over the bed and spreads. Grey light reluctant to leave China powders the glass deepens its image as you come close. Yellow light strokes the window pane, sombre light stains the human comedy sprawled on the bed. And then the watching soul immanent, anxious says All is still well. The substance of our days is whole. No greater pain exists than to feel pain no more, with the soul helpless before locked doors. Alas Time will arrive, and death deprive. Meanwhile take I delight flattering his form guessing his contour beneath the sheets; sensing his blood seeking complexity, feeling his hands fleeting, stirred by some dream; leaving no trace in Time or Space. Let me think no more thoughts for fear he may wake. Let me be quieter than the leaf that grows. Or the rose..
$2.00
1.81 €
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David Warin Solomons
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Dawn in the Room for alto and guitar
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David Warin Solomons
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SheetMusicPlus
Of That So Sweet Imprisonment (Downloadable)
Contralto voice and piano - Medium - Digital Download SKU: MQ.8769-3E Composed by J…
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Contralto voice and piano - Medium - Digital Download SKU: MQ.8769-3E Composed by Juliana Hall. 6 pages. E. C. Schirmer Music Company - Digital #8769-3E. Published by E. C. Schirmer Music Company - Digital (MQ.8769-3E). English.Juliana Hall wrote her song cycle Of That So Sweet Imprisonment for mezzo soprano Stephanie Blythe, for whom Hall had expressed a desire to write a piece. Blythe accepted Hall's proposal, and her request was that Hall write a song cycle for contralto voice. In recounting her motivation for writing this piece, Hall - in a discussion with Blythe at the Fall Island Vocal Arts Seminar (where Hall was the Guest Composer in 2018) - said You know what I think is really so wonderful is how you [Blythe] communicate, from here to there, right to the audience...it just speaks, the words, the text, come right...right to the heart of each person...I was thinking, what a wonderful person, what a wonderful voice...to be able to communicate...I've just got the most perfect singer to take these songs, this wonderful subject of love, and present it to the worldThe seven poems Hall set in Of That So Sweet Imprisonment were chosen from James Joyce's early book of poems, Chamber Music (Elkin Mathews, London) published in 1907. The poems are arranged in a narrative arc that takes the listener from the presence of love in nature (Strings in the Earth and Air), to the human feeling of emptiness when love is not present (Winds of May), to a description exulting in the joys of human love (Of That So Sweet Imprisonment), to expression of human love such as kissing (In the Dark Pine-Wood), to love's tranformation of a girl into a woman through love making (Bid Adieu), to the feelings of contentment in the early morning after making love (At That Hour When All Things Have Repose), and finally a call for the lovers to go to a special place where they may remain together in love (O Cool is the Valley).Of That So Sweet Imprisonment will be premiered on Saturday, January 19, 2019 at the DiMenna Center for Classical Music in New York City, by Ms. Blythe and pianist Alan Smith, on the third concert of the Sparks & Wiry Cries' NYC songSLAM Festival, entitled Expressions of Love: Stephanie Blythe and Friends.Contents:I. Strings in the Earth and AirII. Winds of MayIII. Of That So Sweet ImprisonmentIV. In the Dark Pine-WoodV. Bid AdieuVI. At That Hour When All Things Have ReposeVII. O Cool is the Valley.
$3.00
2.71 €
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Juliana Hall
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Of That So Sweet Imprisonment
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
A Whole New World
Percussion Duet - Level 1 - Digital Download SKU: A0.1250175 Composed by Alan Menke…
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Percussion Duet - Level 1 - Digital Download SKU: A0.1250175 Composed by Alan Menken and Tim Rice. Arranged by Marcelo Borba. Broadway,Children,Country,Multicultural,Musical/Show,Standards,World. Score. 4 pages. Marcelo Borba #844332. Published by Marcelo Borba (A0.1250175). Duet for Marimba and Vibraphone on the Disney Theme Aladdin A Whole New World. General score and individual parts. For vibes and Marimba 4 1/3-Octave. Â The arrangement contains individual parts and the chords of the song.A Whole New World is a song from Disney's animated film Aladdin, released in 1992. The song was written by Alan Menken, who composed the film's soundtrack, and Tim Rice, responsible for the lyrics.In the film's story, A Whole New World is performed by the characters Aladdin and Jasmine. Aladdin is a young thief who finds a magical lamp containing a genie who grants three wishes. Jasmine is the princess of Agrabah, a fictional city in the Middle East. The two fall in love during Aladdin's journey to become a prince and win Jasmine's heart.The song is a romantic and optimistic duet that takes place when Aladdin and Jasmine embark on a magical ride on the flying carpet that Aladdin wishes for using one of his wishes. They explore the starry sky while singing about the wonders and excitement of discovering a new world together. The song's lyrics portray the feeling of freedom, adventure, and love.A Whole New World was an instant success and became one of the most famous songs in Disney movie history. It won the Academy Award for Best Original Song in 1993 and the Grammy Award for Best Pop Performance by a Duo or Group with Vocal in 1994, performed by Peabo Bryson and Regina Belle, who recorded the official version for the film's soundtrack.Since then, A Whole New World has been widely interpreted and covered by various artists around the world, becoming a timeless Disney music classic and one of the most iconic melodies in pop culture. The song captures the magic and emotion of Aladdin's story and continues to enchant generations of fans to this day.
$4.99
4.51 €
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Alan Menken and Tim Rice
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Marcelo Borba
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A Whole New World
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Marcelo Borba
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SheetMusicPlus
Kittinger's Descent - for 8 Trombones
Large Ensemble Bass Trombone - Level 3 - Digital Download SKU: A0.886136 Composed b…
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Large Ensemble Bass Trombone - Level 3 - Digital Download SKU: A0.886136 Composed by Jason McChristian. Contemporary. Score and parts. 55 pages. Jason Gary McChristian #2937601. Published by Jason Gary McChristian (A0.886136). In August 1960, U.S. Air Force pilot Joe Kittinger ascended in a high-altitude balloon 102,800 feet above the surface of the earth. As he leapt out of the gondola, Mr. Kittinger felt little sensation of falling due to the lack of air in the stratosphere. Depicting just moments before the 614 mph free-fall, the work opens with slowly forming clusters. Gaining intensity, these chords signify the sensation one must feel looking up to the blackness of space then peering down to the clouds below. Throughout the piece, a subtle trembling effect suggests the buffeting that can occur at high speeds. Kittinger's Descent is a fast-paced, turbulent ride honoring the man who broke records for highest balloon ascent, highest parachute jump, and longest and fastest free-fall by a human without the aid of a machine.
$40.00
36.13 €
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Jason McChristian
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Kittinger's Descent - for 8 Trombones
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Jason Gary McChristian
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SheetMusicPlus
Anna's Song -MP3 Accompaniment track
Level 2 - Digital Download SKU: A0.1110614 By Deborah Johnson. By Deborah Johnson. …
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Level 2 - Digital Download SKU: A0.1110614 By Deborah Johnson. By Deborah Johnson. Christian,Christmas,Contemporary,Holiday,Praise & Worship. Accompaniment. Duration 293. Deborah Johnson #712916. Published by Deborah Johnson (A0.1110614). Annas Song is a captivating contemporary inspirational piece written by Deborah Johnson. It features a solo vocalist, a chorus, and a string ensemble, resulting in a harmonious and emotionally resonant composition. This enchanting piece can be found on the album Merry Christmas Too, which is a collection of holiday-themed music. This MP3 accompaniment track is in the higher key of Bb-B only.The sheet music of the song is in 2 different keys for low and high versions:Â Bb-B (high), spanning from B below middle C to high B, and G-Ab (low) spanning from G below middle C to high G. These ranges allow for a wide vocal expression, making it suitable for various singers. Annas Song carries a powerful message, drawing inspiration from the biblical account found in Luke 2:36-38. It serves as a reminder that we are never beyond the reach of God's redemption, and He can work His miraculous ways in our lives, no matter how long we may have waited. This message of hope and redemption makes the song particularly meaningful for church and worship celebrations, where it can be used to inspire and uplift congregations. The arrangement of Annas Song includes a full score, encompassing the piano, chorus, strings, and rhythm parts, making it comprehensive and adaptable for different musical settings. Additionally, it provides separate vocal lead sheets, chorus parts, and string parts, allowing for flexibility in performance and accommodating a range of musical talents. Annas Song is a beautiful and spiritually moving composition that combines a contemporary sound with a profound message of redemption. Deborah Johnson's arrangement offers a versatile musical experience suitable for church and worship gatherings, helping to create a spiritually uplifting atmosphere for all who listen. The sheet music is also available for download. Full song download on Spotify: https://open.spotify.com/track/4l5svO76D7GLwaxPSA7gOF More information here: https://djworksmusic.com/annas-song/ https://djworksmusic.com/products/ for physical albums & info. Twitter: @DJWorksMusic; Instagram: Deborah_johnsonmusic Like our Facebook page: https://www.facebook.com/deborah.johnson For updates and weekly articles: https://goalsforyourlife.com/newsletter Anna's Song is written and arranged by Deborah Johnson and included on the full album called Merry Christmas Too. DEBORAH JOHNSON, is a National Recording Artist, Composer, Speaker and published Author. She has recorded over a dozen albums, written 3 original musicals and has appeared on many stages around the country and world. She has also appeared with the headliner piano/vocal duo Double Grande. Also the author of multiple books, her music has been up for multiple Grammy Awards. Production, Music and Lyrics by Deborah Johnson. Keyboards: Deborah Johnson and Tom Keene; Bass Guitar: David Coy; Drums: Dave Spurr; Guitars: John Hunt; Flute: John Reilly; Strings: Living Strings. Recorded at: Tor-Wood-Lea Recording Studios, Engineered by Tom Keene. Bass/Strings Recorded at: A to Z Studios, Engineered by Tim Jaquette. Mixed at: ETC Studio A, Tim Jaquette; Album Mastering: Bernie Grundman.
$8.99
8.12 €
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Deborah Johnson
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info
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Anna's Song -MP3 Accompaniment track
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Deborah Johnson
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SheetMusicPlus
That Easter Day with Joy Was Bright/What Star Is This (wind ensemble)
Small Ensemble Alto Saxophone,Baritone Saxophone,Horn,Trombone,Trumpet - Level 3 - Digital…
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Small Ensemble Alto Saxophone,Baritone Saxophone,Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.773795 Composed by Michael Praetorius. Arranged by Anthony Giamanco. Christmas,Concert,Contemporary,Easter,Sacred. Score and parts. 19 pages. Whole Tone Press #5355957. Published by Whole Tone Press (A0.773795). This arrangement for wind ensemble (Alto & Bari Saxes, Horn, Trumpet and Trombone) utilises the well-known Praetorious tune, PUER NOBIS, to create an harmonically rich and musically satisfying setting that can be played during the Easter season or optionally, during the Christmas season (in particular, Epiphany). Appropriate for church and concert. The first 3 stanzas are fairly straightforward; stanzas 4 and 5 utilise more movement (16 notes, triplets), with stanza 5 employing a fanfare-like trumpet obbligato. Difficulty level is approx. intermediate-advanced intermediate. Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper. Anthony's music can be heard on his website, anthonygiamanco.com, on SoundCloud (https://soundcloud.com/tony-giamanco), and on his YouTube channel (https://www.youtube.com/channel/UC09EezLz7GUoMhNrc5Y8jBg) Contact info:tony@shalomlife.org.
$6.50
5.87 €
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Michael Praetorius
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Anthony Giamanco
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That Easter Day with Joy Was Bright/What Star Is This
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Whole Tone Press
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SheetMusicPlus
Gardiner: Shepherd Fennel's Dance - wind dectet/bass
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.55407…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.554074 Composed by Henry Balfour Gardiner. Arranged by Ray Thompson. Contemporary. 48 pages. RayThompsonMusic #6597257. Published by RayThompsonMusic (A0.554074). Composed in 1911.Probably intended as an interlude for a projected one-act opera based on Thomas Hardy's 'The Three Strangers'. Premiered at the Queen's Hall at a Promenade Concert and so successful that it was repeated a month later during the same Proms season.(It became a favourite at the Proms, chalking up 35 performances between 1911 and 1951) Henry Balfour Gardiner (7 November 1877 – 28 June 1950) was a British musician, composer, and teacher.He was born at Kensington (London), began to play at the age of 5 and to compose at 9.Between his conventional education at Charterhouse School and New College, Oxford, where he obtained only a pass degree, Gardiner was a piano student at the Hoch Conservatory in Frankfurt, where he was taught by Iwan Knorr and Lazzaro Uzielli, who had been a pupil of Clara Schumann. He belonged to the Frankfurt Group, a circle of composers who studied at the Hoch Conservatory in the late 1890s Gardiner's most important work, possibly, was his promotion of the music of contemporary British and colonial composers, particularly through a series of concerts he personally financed at Queen's Hall London in 1912 to 1913. The composers represented included Arnold Bax, Frederic Austin, Gustav Holst, Percy Grainger, Roger Quilter, Cyril Scott and Norman O'Neill. (The last four had also studied with him at Frankfurt.)Arranged for symphonic wind dectet and bass
$19.95
18.02 €
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Henry Balfour Gardiner
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Ray Thompson
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Gardiner: Shepherd Fennel's Dance - wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
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