Page d'accueil
Parcourir Free-scores.com
--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
Without Him
Non classifié
108
Piano & claviers
Piano seul
55
Piano, Voix et Guitare
21
Piano, Voix
15
Piano Facile
12
Orgue
4
1 Piano, 4 mains
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
Instruments en Do
1
+ 5 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
7
Guitare
6
Guitare notes et tablatures
5
Basse electrique
2
Piano, Guitare (duo)
1
Ukulele
1
Paroles et Accords
1
3 Guitares (trio)
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
31
Chorale TTBB
11
Chorale 3 parties
7
Chorale Unison
6
Voix haute
2
Chorale 2 parties
2
Chorale SSAA
2
Voix Baryton, Piano
2
Voix Tenor
1
+ 4 instrumentations
Retracter
Vents
2 Flûtes traversières (duo)
17
Clarinette
15
Quatuor de Saxophones: 4 saxophones
13
Hautbois (partie séparée)
12
Flûte traversière et Piano
10
2 Saxophones (duo)
10
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
Clarinette et Piano
7
Flûte traversière
6
Hautbois, Piano (duo)
5
Flûte, Hautbois, Clarinette, Basson
5
Saxophone Alto et Piano
4
Flûte, Clarinette (duo)
3
Saxophone Alto
3
Ensemble de Flûtes
3
Saxophone Tenor
3
Saxophone Baryton, Piano
3
2 Hautbois (duo)
3
Hautbois, Clarinette (duo)
3
2 Clarinettes (duo)
2
Cor anglais, Piano
2
Quatuor de Clarinettes: 4 clarinettes
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette, Trompette (duo)
2
Saxophone, Clarinette (duo)
2
Ensemble de Clarinettes
2
Hautbois
2
Flûte, Hautbois (duo)
2
Saxophone Soprano et Piano
2
3 Saxophones (trio)
2
Flûte à bec Soprano
2
2 Flûte à bec (duo)
2
Quintette de Saxophone: 5 saxophones
2
Clarinette, Violon (duo)
2
Flûte, Trompette (duo)
1
Clarinette Basse, Piano
1
Saxophone Tenor et Piano
1
Clarinette et Alto
1
Hautbois, Flûte
1
Flûte, Violon
1
Flûte à bec Alto
1
Saxophone (partie séparée)
1
Clarinette, Guitare (duo)
1
Ensemble de saxophones
1
Hautbois, Basson (duo)
1
Flûte, Saxophone (duo)
1
+ 41 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
25
Trombone
9
Trompette
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
Cor et Piano
5
Trompette, Piano
5
Tuba et Piano
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Cor
4
Quatuor de Cuivres
4
Trompette, Trombone (duo)
3
Trombone et Piano
3
2 Trombones (duo)
3
2 Trompettes (duo)
3
Cor anglais, Piano
2
Tuba
2
Trompette, Saxophone (duo)
2
2 Cors (duo)
2
2 Tubas (duo)
2
Euphonium, Piano (duo)
2
Trompette, Cor (duo)
2
Trombone basse et Piano
1
Ensemble de Trombones
1
3 Trombones (trio)
1
+ 19 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
25
2 Violons (duo)
12
Trio à Cordes: violon, alto, violoncelle
9
Violon et Piano
8
Violoncelle
7
Violon
5
Alto seul
5
2 Violoncelles (duo)
5
Contre Basse
4
Violoncelle, Piano
4
Alto, Piano
3
2 Altos (duo)
3
Violon, Violoncelle (duo)
3
Violon, Alto (duo)
3
Violon (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Contrebasse, Piano (duo)
2
Harpe
2
Violoncelle , Guitare (duo)
1
Alto (partie séparée)
1
Violoncelle, Orchestre
1
Violoncelle (partie séparée)
1
+ 17 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
27
Ensemble de cuivres
23
Orchestre
16
Cloches
15
Orchestre à Cordes
10
Orchestre de chambre
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Ensemble Jazz
2
Ensemble de Percussions
1
Batterie
1
2 Marimbas
1
+ 6 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
0
Partitions Numériques
108
Librairie Musicale
876
Matériel de Musique
125
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Without Him
Partitions à imprimer
108 partitions trouvées
<
1
26
51
....
101
Two Grooves (Handchime Score)
#
Cathy Moklebust
#
Two Grooves
#
Chorister's Guild - Digital
#
SheetMusicPlus
Handchimes - Level 2+ - SKU: C7.CGB1246 Composed by Cathy Moklebust. General. With 3, 4 or 5 octaves handbells. Score. 12 pages. Chorister's Guild - Dig...
(+)
Handchimes - Level 2+ - SKU: C7.CGB1246 Composed by Cathy Moklebust. General. With 3, 4 or 5 octaves handbells. Score. 12 pages. Chorister's Guild - Digital #CGB1246. Published by Chorister's Guild - Digital (C7.CGB1246). These two original cool jazz pieces, one in D minor and one in C minor, are sure to please! Each may be played in either a straight or swing style, which makes them great for teaching the difference. They are also written with a bell part and a chime part, playable either together or separately, and a complete full score is available showing all parts. Since there are no accidentals, shared bells, or required table techniques, they may be performed without tables. Compatible 2 or 3 octave and 3, 4, or 5 octave editions are available.
$5.50
"Only Trust Him" for 8-note C major diatonic scale Tongue Drum
#
Musique Sacrée
#
Sharon Wilson
#
Sharon Wilson
#
"Only Trust Him" for
#
Sharon Wilson
#
SheetMusicPlus
Hand Drum,Handpan,Instrumental Solo,Steel Pan - Level 2 - SKU: A0.659351 By Sharon Wilson. By John H. Stockton. Arranged by Sharon Wilson. Praise & Wors...
(+)
Hand Drum,Handpan,Instrumental Solo,Steel Pan - Level 2 - SKU: A0.659351 By Sharon Wilson. By John H. Stockton. Arranged by Sharon Wilson. Praise & Worship,Sacred. Individual part. 10 pages. Sharon Wilson #266880. Published by Sharon Wilson (A0.659351). This sheet music is notated for C major diatonic scale Tongue Drums (suitable for any 8, 11, or 13-note drum in the key of C). This hymn arrangement can be performed as a solo, as rhythmic chord accompaniment for singing, or as a duet. Four separate scores are provided for maximum flexibility. Whether beginner or experienced musician, these scores can be used in numerous ways from solo playing to playing with a partner or as a group. A note and chord reference chart is included as well as a rhythm pattern chart. Descriptions, suggestions, and uses for each score and chart are detailed on the introduction page and summarized below:Melody ScoreThis score can be played as a solo with or without singing along. Those new to reading standard music notation as well as those already familiar with music notation will find the numbers above the staff helpful. These numbers correspond to the numbers on the Tongue Drum. Lyrics appear below the staff for sing along enjoyment. Harmony ScoreThis score can be used in conjunction with the Melody Score to form a duet by providing the accompaniment (harmony) while someone plays or sings the melody. Note numbers below the staff corresponding to the numbers on the drum. Chord names are shown above the staff for playing a rhythmic accompaniment in place of the harmony accompaniment shown. The chord names can also be used for ensemble playing with other instruments (such as a Ukulele or Guitar).Grand StaffThe Grand Staff score combines the Melody Score with the Harmony Score. This score provides a visual overview of how the two scores line up and is helpful for a director or teacher using this set of scores in a group setting. If playing with a partner (a duet), this score may be easier to use since you both can see what the other person is playing. This score includes note numbers above the melody staff and below the harmony staff corresponding to the numbers on the drum; chord names shown above the harmony staff for ensemble playing with other instruments or for using a rhythmic chord accompaniment; and lyrics between the staves for sing along enjoyment. Advanced Solo ScoreThe Advanced Solo score includes harmony notes along with the melody notes to create a fuller sounding solo which can be played with or without singing along. Numbers corresponding to the numbers on the Tongue Drum are included above the staff.Note and Chord ChartThis chart consists of two separate staff rows. The first staff shows the notes used for the melody. The second staff shows the notes in each chord used in this song. Any combination of the notes within a given chord can be played using one of the rhythm patterns. Rhythm ChartThis chart shows four rhythm patterns that can be used as an accompaniment for the melody. Using the Harmony Score or the Grand Staff, follow the chord names to play notes from the given chord using one of the rhythm patterns.This arrangement is one of the 10 songs in the collection Hymns of Faith for 8-note C major diatonic scale Tongue Drums (A collection of 10 Solos and Duets).Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$3.99
Mendelssohn: Song Without Words Op. 109 for Bass Flute & Piano
#
Felix Mendelssohn
#
James M
#
Mendelssohn: Song Without Word
#
jmsgu3
#
SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 3 - SKU: A0.549494 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. In...
(+)
Bass Flute,Instrumental Solo,Piano - Level 3 - SKU: A0.549494 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 20 pages. Jmsgu3 #3500875. Published by jmsgu3 (A0.549494). BASS FLUTE & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
Give Him Thanks! - Percussion Score and Parts
#
Marty Parks
#
Give Him Thanks! - Percussion
#
Lorenz Publishing - Digital Sheet Music
#
SheetMusicPlus
Instrumental Parts - SKU: LX.30-3382L Composed by Marty Parks. Sacred Anthem, General, Thanksgiving. Percussion Score and Parts. 17 pages. Lorenz Publis...
(+)
Instrumental Parts - SKU: LX.30-3382L Composed by Marty Parks. Sacred Anthem, General, Thanksgiving. Percussion Score and Parts. 17 pages. Lorenz Publishing - Digital Sheet Music #e30/3382L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3382L). Based on Psalm 136, this celebratory expression of thanksgiving is an accessible a cappella anthem that works equally well with or without the optional percussion. Give thanks to the Lord, for He is good. His love endures forever!.
$11.95
Eg veit i himmerik ei borg (I know a castle in heaven)
#
Nick Walkley
#
Eg veit i himmerik ei borg
#
Nick Walkley
#
SheetMusicPlus
Brass Ensemble Trumpet - Level 3 - SKU: A0.940772 Composed by Nick Walkley. Christian,Contemporary,Patriotic,World. Score and parts. 15 pages. Nick Walk...
(+)
Brass Ensemble Trumpet - Level 3 - SKU: A0.940772 Composed by Nick Walkley. Christian,Contemporary,Patriotic,World. Score and parts. 15 pages. Nick Walkley #3433499. Published by Nick Walkley (A0.940772). This is a meditative arrangement of a well known Norwegian hymn. The arrangement sets three verses of the melody 'bookended' by a mirrored introduction and coda. It was originally written for and performed by the cornet section of the Band of the Welsh Guards, before being also expanded to military (wind) and brass band formats.In the hymn, one sings of a hopeful final journey to a place without worry or sorrow. The arrangement reflects the mood of these three verses, with increaing tension and movement through ascending lines as the journey progresses towards a final resting place. The hymn is regularly used at funerals and memorial services. The text was originally old German and translated to Norwegian by Bernt Støyland in 1905. Translated to English, the text reads as:I know a castle in heaven above, shining as bright as the sun; you'll find no sin nor sorrow there, and never a tear is shed.I am a weary traveller; may my path lead me from here to my Father's land; God, bless me on my way.We thank you for eternity God the Father, one in three. For you are gentle and mild to us in Jesus Christ! Amen.Note to performers:The opening and closing sections require precision in the start and release of notes for the chord progression to function. Attention to detail should be paid to each individual crescendi, diminuendi and articulation. This is excellent training for all brass musicians!
$15.00
Without Him - Downloadable Rhythm Chart
#
Musique Sacrée
#
Mary McDonald
#
Without Him - Downloadable Rhy
#
Lorenz Publishing - Digital Sheet Music
#
SheetMusicPlus
Rhythm Section - SKU: LX.30-3985L Arranged by Mary McDonald. Sacred Anthem, General, Invitation. Downloadable Rhythm Chart. 6 pages. Lorenz Publishing -...
(+)
Rhythm Section - SKU: LX.30-3985L Arranged by Mary McDonald. Sacred Anthem, General, Invitation. Downloadable Rhythm Chart. 6 pages. Lorenz Publishing - Digital Sheet Music #e30/3985L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3985L).
$14.95
The Solid Rock (Flugelhorn)
#
Musique Sacrée
#
Michael Ware
#
Michael Ware
#
The Solid Rock
#
Michael Ware Music
#
SheetMusicPlus
Flugelhorn,Instrumental Solo,Piano - Level 3 - SKU: A0.1364206 By Michael Ware. By William B. Bradbury. Arranged by Michael Ware. Jazz,Praise & Worship,...
(+)
Flugelhorn,Instrumental Solo,Piano - Level 3 - SKU: A0.1364206 By Michael Ware. By William B. Bradbury. Arranged by Michael Ware. Jazz,Praise & Worship,Religious,Sacred,Traditional. Score and individual part. 9 pages. Michael Ware Music #948503. Published by Michael Ware Music (A0.1364206). The Solid Rock is a much loved hymn that reminds us that Jesus is cornerstone and foundation. Our lives are sinking sand without Him. This energetic arrangement by Michael Ware makes a great prelude or offertory in worship. Available for Flute, Clarinet in Bb, Soprano Sax, and Flugelhorn in Bb.Accompaniment and solo instrumental part are included in this download.
$7.99
The Solid Rock (Instrumental Solo Accompaniment Track)
#
Musique Sacrée
#
Michael Ware
#
Michael Ware
#
The Solid Rock
#
Michael Ware Music
#
SheetMusicPlus
B-Flat Clarinet,Bass Voice,Drums,Flugelhorn,Flute,Piano Accompaniment,Soprano Saxophone - Level 3 - SKU: A0.1364256 By Michael Ware. By William B. Bradb...
(+)
B-Flat Clarinet,Bass Voice,Drums,Flugelhorn,Flute,Piano Accompaniment,Soprano Saxophone - Level 3 - SKU: A0.1364256 By Michael Ware. By William B. Bradbury. Arranged by Michael Ware. Jazz,Praise & Worship,Religious,Sacred,Traditional. Accompaniment. Duration 169. Michael Ware Music #948556. Published by Michael Ware Music (A0.1364256). The Solid Rock is a much loved hymn that reminds us that Jesus is cornerstone and foundation. Our lives are sinking sand without Him. This energetic arrangement by Michael Ware makes a great prelude or offertory in worship. Available for Flute, Clarinet in Bb, Soprano Sax, and Flugelhorn in Bb.This download is the instrumental accompaniment track.
$5.99
Victorian Christmas Melodies for Harmonium or American Reed Organ
#
Noël
#
Various
#
B
#
#
Victorian Christmas Melodies f
#
bl_music
#
SheetMusicPlus
Small Ensemble Harmonium,Harpsichord,Organ,Piano - Level 2 - SKU: A0.842551 Composed by Various. Arranged by B. Brennan. Christmas,Instructional,Standar...
(+)
Small Ensemble Harmonium,Harpsichord,Organ,Piano - Level 2 - SKU: A0.842551 Composed by Various. Arranged by B. Brennan. Christmas,Instructional,Standards,Traditional. Score and parts. 28 pages. Bl_music #5791213. Published by bl_music (A0.842551). The Victorian Christmas Melodies 60 Victorian Christmas Melodies for Harmonium or American Organ without lyrics. This is the Christmas edition in our ´Victorian´ series for harmonium or reed organ which contains 60 harmonised carol melodies. We have not included the lyrics as this publication is mainly intended for instrumental performance. The carols may be repeated according to the number of verses indicated in brackets at the beginning of each piece. The selection represents the carols best known and loved by the Victorians, many having been introduced by Prince Albert himself from Germany. We have kept the original titles in German, Latin or English. These are easy to medium arrangements also suitable for piano, keyboard or organ.1. Deck The Halls 2. Alle Jahre wieder 3. As With Gladness 4. Away In A Manger 5. Am Weihnachtsbaum die Lichter 6. Wassail Song 7. Der Christbaum ist der schönste Baum 8. Ehre sei Gott9. Hark! The Herald Angels Sing 10. Es kommt ein Schiff, geladen 11. Macht hoch die Tür 12. Es ist ein Ros‘ entsprungen 13. Ihr Hirten, erwacht 14. Freu Dich, Erd und Sternenzelt 15. 0 Little Town of Bethlehem 16. Heiligste Nacht 17. Inmitten der Nacht 18. Once in Royal David's City 19. Joseph, lieber Joseph mein 20. Laßt uns froh und munter sein 21. Ihr Kinderlein, kommet 22. Gloria in Excelsis Deo 23. Leise rieselt der Schnee 24. Adeste Fideles, Come All Ye Faithful 25. It Came Upon A Midnight Clear 26. Kommet Ihr Hirten 27. Lobt Gott, Ihr Christen 28. Kling Glöckchen 29. Quem Pastores laudavere 30. Sussex Carol 31. Laßt uns das Kindlein wiegen 32. Laufet, Ihr Hirten 33. The Angel Gabriel 34. Boar's Head Carol 35. Morgen, Kinder, wird's was geben 1 36. Morgen, Kinder, wird's was geben 2 37. Lobet den Herren 38. 0 Freude über Freude 39. While Shepherds Watched 40. Coventry Carol 41. Tochter Zion 42. 0 Du fröhliche 43. In Dulci Jubilo 44. Stille Nacht 45. Still,still, still 46. 0 Tannenbaum 47. See Amid The Winter's Snow 48. Ding Dong, Merrily On High 49. Vom Himmel hoch 50. Cherry Tree Carol 51. The Holly And The Ivy 52. Schlaf wohl, Du Himmelsknabe) 53. Maria durch ein Dornwald ging 54. Zu Bethlehem geboren 55. Süßer die Glocken) 56. God Rest Ye, Merry Gentlemen 57. Morgen kommt der Weihnachtsmann 58. Susani 59. Was soll das bedeuten? 60. We Wish You a Merry Christmas
$14.99
Sonata for Piano Quintet
#
James Albert Yeager
#
Sonata for Piano Quintet
#
James A. Yeager
#
SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 9...
(+)
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00
Symphonie Fantastique
#
Hector Berlioz
#
Chris Gorman
#
Symphonie Fantastique
#
Chris Gorman
#
SheetMusicPlus
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,Per...
(+)
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 - SKU: A0.1515048 Composed by Hector Berlioz. Arranged by Chris Gorman. Classical,Romantic Period. Brass Band. 105 pages. Chris Gorman #1089546. Published by Chris Gorman (A0.1515048). The Symphonie fantastique is a piece of programme music that tells the story of a gifted artist who, in the depths of hopelessness and despair because of his unrequited love for a woman, has poisoned himself with opium. The piece tells the story of the artist's drug-fuelled hallucinations, beginning with a ball and a scene in a field and ending with a march to the scaffold and a satanic dream. Having grown sure that his love is unappreciated, the artist poisons himself with opium. The dose of the narcotic, too small to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the one he loved, that he is condemned, that he is being led to execution, and that he is witnessing his own guillotining. The procession advances to the sounds of a march sometimes dark and fierce, sometimes brilliant and solemn, in which a muffled sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a last thought of love interrupted by the fatal blow. This arrangement follows closely to the original Orchestral score and is an ideal addition to the Brass Band Library.
$45.00
Mendelssohn: Wedding March for Viola & Piano
#
Classique
#
Felix Bartholdy Mendelssohn
#
James M
#
Mendelssohn: Wedding March for
#
jmsgu3
#
SheetMusicPlus
Instrumental Duet,Viola - Level 3 - SKU: A0.549885 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standar...
(+)
Instrumental Duet,Viola - Level 3 - SKU: A0.549885 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. 23 pages. Jmsgu3 #3602675. Published by jmsgu3 (A0.549885). Score: 12 pages, piano part: 6 pages, viola part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz.
$32.95
Mendelssohn: Wedding March for Oboe d'Amore & Piano
#
Classique
#
Felix Bartholdy Mendelssohn
#
James M
#
Mendelssohn: Wedding March for
#
jmsgu3
#
SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - SKU: A0.549891 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic P...
(+)
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - SKU: A0.549891 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and individual part. 23 pages. Jmsgu3 #3602937. Published by jmsgu3 (A0.549891). Score: 12 pages, piano part: 6 pages, oboe d'amore part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself.Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's vir.
$24.95
Mwiche Khumufumie
#
Wilson Shitandi
#
Mwiche Khumufumie
#
Songburd Music
#
SheetMusicPlus
Choral Choir,Choral - Level 5 - SKU: A0.1347430 Composed by Wilson Shitandi. Folk,Religious,Spiritual,Traditional. 23 pages. Songburd Music #846653. Pub...
(+)
Choral Choir,Choral - Level 5 - SKU: A0.1347430 Composed by Wilson Shitandi. Folk,Religious,Spiritual,Traditional. 23 pages. Songburd Music #846653. Published by Songburd Music (A0.1347430). Africa's rich and varied history has been shaped by many factors, and the same could be said for Africa's captivating traditional and indigenous music styles, which in turn have influenced many other genres of music around the world.  With its early beginnings, the traditional music of Africa has walked hand-in-hand with the development of cultures and languages, each with its distinct traditions and dialects that bring a unique flavor to the African folk tunes that are so much a part of the families, clans and communities that form a music heritage within Africa. Nowhere is this more apparent than in the Luhya community in Kenya, where we clearly see the special relationship that exists between the Samia people, and their articulate dialect, and the delightful expression of their sacred folk music and folk music style.  We could even go so far as to say that Samia folk tunes are closely tied to their art, folklore and religious practices, and also to the artistic influences within and without the Luhya community.Notably, what makes African folk music style special is the sense of purpose and meaning that is attributed to the music--through its use in religious practices, ceremonies, and celebrations-- where audience participation is encouraged and even expected.  The techniques and forms of the music, which give this genre a voice of its own, gives us reason to pay close attention to the characteristics that define this music.  We can briefly point out the use of polyrhythmic techniques, percussion, shimmer, improvisational instrumentation, yodeling and syncopated rhythms that comprise African folk music, but none gets our attention more than the call and response of the singers, which shows the close connection between the language (dialect) and the music, all of which involves the singers and the audience in a musical conversation. This arrangement by Wilson Shitandi combines two melodies commonly used in the praise of leaders or deities--depending on the culture--that typically have no specific title, and sometimes derive their name from an instrument or type of dance.  Stylistically, this arrangement successfully weaves two themes together into one, the first being a lively and upbeat expression, and the second being more meditative and contemplative, both of which alternate throughout the music.   Importantly, the text for this chorus was originally written in Swahili, and later rewritten using the Samia dialect, which the composer feels is more fitting to the melody, with words drawn from Christian traditions, which again demonstrates that music and language are indeed closely linked in the folk music of Africa, as it is in this uplifting arrangement of Mwiche Khumufumie (Come Let Us Glorify Him).
$11.99
Tristan und Isolde
#
Classique
#
Richard Wagner
#
Tristan und Isolde
#
Schott Music - Digital
#
SheetMusicPlus
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl...
(+)
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - SKU: S9.Q17773 Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773). German.An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned 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. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.†(Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.
$47.99
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
#
Thomas Oboe Lee
#
Focus on Grace ... A concerto
#
Thomas Oboe Lee
#
SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. ...
(+)
Small Ensemble - Level 4 - SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
The Emotional Lives of Colors (for trumpet, piano, and percussion)
#
Brandon Nelson
#
The Emotional Lives of Colors
#
Brandon Nelson
#
SheetMusicPlus
B-Flat Trumpet,Percussion,Piano - Level 5 - SKU: A0.1201730 Composed by Brandon Nelson. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. 37...
(+)
B-Flat Trumpet,Percussion,Piano - Level 5 - SKU: A0.1201730 Composed by Brandon Nelson. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. 37 pages. Brandon Nelson #800346. Published by Brandon Nelson (A0.1201730). Johann Wolfgang von Goethe and his theory on how colors impacted mental states was the inspiration for this piece. He was far more gifted with prose than I, so I’ll him explain further:We shall not be surprised to find that [colours’] effects are at all times decided and significant, and that they are immediately associated with the emotions of the mind.Colour, considered as an element of art, may be made subservient to the highest aesthetical needs.General impressions produced by single colours cannot be changed[.] They act specifically and must produce definite, specific states in the living organ. Experience teaches us that particular colours excite particular states of feeling.Goethe goes on to detail these notions in an elaborate, deeply imaginative treatise. Sadly for him, this work was coming out just as the science of optics had begun to give the world an empirical understanding of color, leaving Goethe’s romantic ideas in the margins.But it is those ideas that I find intriguing from a poetic viewpoint, and, in this composition, I shed musical light unto his dramatic descriptions of several different colors.“Yellow-Red†is described as “primordial, impetuous, robust,†to the point of eliciting “extreme excitement†which disturbs and enrages even animals!“Yellow†is portrayed as that being nearest to natural light. It is of “utmost purity and beauty[….] Serene, gay, softly exciting.â€The color “Red-Blue†we are told is “something lively without gladness.â€â€œBlue†is steeped in darkness, a “contradiction between excitement and repose.†It gives one the “impression of cold.†and brings to mind melancholy.
$29.99
I'll Walk Alone
#
Dinah Shore
#
F
#
I'll Walk Alone
#
Sweetwater Brass Press
#
SheetMusicPlus
Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th C...
(+)
Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th Century,Jazz,Pop,Standards. 20 pages. Sweetwater Brass Press #936564. Published by Sweetwater Brass Press (A0.1351942). “I’ll Walk Alone†is a World War II era ballad whose poignant melody sounds as though it could have been written just yesterday.  First introduced in the 1944 movie Follow the Boys, it was hugely popular and has since been recorded by numerous artists.   Universal Pictures produced Follow the Boys in an effort to help boost morale for both overseas military and folks on the home front.  Despite being filled with stars and songs, critics tended to dismiss it as hokey and trite.  The exception was a scene in which Dinah Shore sang “I’ll Walk Alone.† Nominated for the Academy Award for Best Original Song, Ms. Shore’s follow-up Victor recording spent 20 weeks on the top ten Best Selling Records chart.  The song was used yet again in 1952 for another motion picture, With a Song in My Heart, the Jane Froman biographical film, and the melody eventually developed as a standard, particularly in the world of jazz.   Sammy Cahn’s lyrics for this song express the feelings and the promise of a woman who has been separated from her lover by the war.  She pledges that she will be true, that she will wait for him, and that “'till you're walking beside me, I'll walk alone.† Jule Styne’s melody is both plaintiff and simple. an eight-measure phrase, a repeat of the phrase, an eight-measure second phrase, then another repeat of the first phrase.   For this arrangement, the suggested tempo is a relatively slow, blues-like 72 bpm.  It features a tenor saxophone as lead and solo instrument accompanied by brass quintet.  A four-measure introduction opens the piece with Trumpet 1 playing melody and the other four brass providing background.  Following the intro, Tenor Sax plays its first three notes alone; the other instruments begin their accompaniment on measure 6.  Trumpet 1 is tacit during measures 6-11 but begins adding counterpoint in measure 12.     In performing this arrangement, brass instruments should ensure that, when the Sax plays, their volume as a group is under (i.e., softer than) the melody.  The exception begins at measure 36, when a crescendo leads to the quintet playing fortissimo.  During this section, the Tenor Sax plays a couple of responses.  At measures 43 a decrescendo lowers the brass volume back to its original soft accompaniment level.  The piece ends with brass recapping the introduction and Sax providing a final statement.   This piece, completed in 2023, consists of 57 measures, a little over three minutes in length.  Written in the key of G major, Tuba’s lowest note is a G below the staff.  Other than that, all notes are well within the normal playing range of each instrument.   The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$12.99
Kosmos Place 1
#
Musique Sacrée
#
THEMIS KOUTRAS
#
Kosmos Place 1
#
THEMIS KOUTRAS
#
SheetMusicPlus
Guitar - SKU: A0.1066774 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 324. THEMIS KOUTRAS #5196707. ...
(+)
Guitar - SKU: A0.1066774 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 324. THEMIS KOUTRAS #5196707. Published by THEMIS KOUTRAS (A0.1066774). This a song in parable inspired by the holy spirit and a PROMISE of GOD that it is a prophesy song that we will progress to the space mission even to reach beyond the universe and creating new world up there as finishing the work GOD began to do to other worlds is that it is a sign up there he left it unfinished work he finished earth so to see how determined planet earth is to learn of him and take after the real true GOD rather then false gods to see if we will finish off those worlds up there in order to transport life there from here declaring these new worlds will then be part of planet earth the space mission today has the ability power to do this and I believe one day they will do this it has a final meaning that the space ships will mean we will travel without technology it is that the nick name space ship is given by me for the name of the holy spirit because his beyond all-powerful I know in parable because he will ascend us up high without a space ship as he already has for me for I been in the always given eternal life I have now returned back here the moment I left in time and space ye true ye I have been everywhere up there by the power of the holy spirit as he accended me up high in the always
$3.99
Scarborough Fair
#
Contemporain
#
Traditional English Folk Song
#
Lisa Lenke Sousa
#
Scarborough Fair
#
Lisa Lenke Sousa
#
SheetMusicPlus
Brass Ensemble Horn - Level 3 - SKU: A0.979540 Composed by Traditional English Folk Song. Arranged by Lisa Lenke Sousa. Classical,Contemporary,Folk,Rena...
(+)
Brass Ensemble Horn - Level 3 - SKU: A0.979540 Composed by Traditional English Folk Song. Arranged by Lisa Lenke Sousa. Classical,Contemporary,Folk,Renaissance. Score and parts. 10 pages. Lisa Lenke Sousa #3531851. Published by Lisa Lenke Sousa (A0.979540). Written and sung by bards in the Middle Ages throughout the English countryside, Scarborough Fair has its origins as far back as 1253 during the reign of King Henry the VIII. During that year, the King proclaimed that there would be a fair in the Yorkshire town of Scarborough and that fair held during August until September. In the folk song, a man asks someone if they are going to the festival in Scarborough. If they are, he asks them to find a former love of his to tell her to perform a series of impossible tasks. Some of these tasks include making him a shirt without seams and washing it in a well without water. If she completed these tasks, she would win his affections once more. The lyrics of this ballad also include the four herbs parsley, sage, rosemary, and thyme. More than just mere words, these herbs serve a purpose. Parsley used to treat indigestion. Sage is a symbol of strength. Rosemary represents love and faithfulness, and thyme represents courage.
$9.99
God Reveals His Presence - for Beginner Orchestra.
#
Joachim Neander
#
L
#
God Reveals His Presence - for
#
Müller Publishing company
#
SheetMusicPlus
Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - SKU: A0.1478333 Composed by Joachi...
(+)
Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - SKU: A0.1478333 Composed by Joachim Neander. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 21 pages. Müller Publishing company #1055714. Published by Müller Publishing company (A0.1478333). Arrangement of the Traditional Hymn God Reveals His Presence by Joachim Neander - Adapted by L. Müller for Beginner Orchestra.Celebrate the inspiring message of the traditional hymn, God Reveals His Presence, composed by Joachim Neander. This arrangement, meticulously adapted by L. Müller, is crafted for beginner orchestras, making it accessible to a wide range of performers.The arrangement includes comprehensive parts for various instruments, ensuring that orchestras of all sizes can participate. The classic harmony is preserved, allowing both small and large groups to perform with depth and richness. The digital PDF format ensures easy access and distribution, with versions available both with and without chords to suit different performance needs.Perfect for church services, spiritual gatherings, and musical events, this rendition of God Reveals His Presence will quickly become a cherished addition to any repertoire. The thoughtful adaptation ensures that even those new to music can join in creating a worshipful and inspiring atmosphere.Instruments Included:- Flute- Clarinet in Bb I & II- Soprano Saxophone- Alto Saxophone I & II- Horn in F- Trumpet in Bb I, II & III- Trombone I & II- Tuba- Violin I, II & III- Viola- Cello I & II- Contrabass- PianoAvailable Versions: With and Without ChordsKey Features:- Suitable for beginner musicians- Comprehensive instrumentation- Digital PDF format for easy access and distribution- Classic harmony preservedEnrich your worship services and musical gatherings with this specially adapted arrangement of God Reveals His Presence. Acquire it now and inspire your audience with the beauty, joy, and depth of this iconic hymn.
$1.99
God Reveals His Presence - for Beginner Orchestra. (with chords)
#
Joachim Neander
#
L
#
God Reveals His Presence - for
#
Müller Publishing company
#
SheetMusicPlus
Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - SKU: A0.1478331 Composed by Joachi...
(+)
Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - SKU: A0.1478331 Composed by Joachim Neander. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 21 pages. Müller Publishing company #1055712. Published by Müller Publishing company (A0.1478331). Arrangement of the Traditional Hymn God Reveals His Presence by Joachim Neander - Adapted by L. Müller for Beginner Orchestra.Celebrate the inspiring message of the traditional hymn, God Reveals His Presence, composed by Joachim Neander. This arrangement, meticulously adapted by L. Müller, is crafted for beginner orchestras, making it accessible to a wide range of performers.The arrangement includes comprehensive parts for various instruments, ensuring that orchestras of all sizes can participate. The classic harmony is preserved, allowing both small and large groups to perform with depth and richness. The digital PDF format ensures easy access and distribution, with versions available both with and without chords to suit different performance needs.Perfect for church services, spiritual gatherings, and musical events, this rendition of God Reveals His Presence will quickly become a cherished addition to any repertoire. The thoughtful adaptation ensures that even those new to music can join in creating a worshipful and inspiring atmosphere.Instruments Included:- Flute- Clarinet in Bb I & II- Soprano Saxophone- Alto Saxophone I & II- Horn in F- Trumpet in Bb I, II & III- Trombone I & II- Tuba- Violin I, II & III- Viola- Cello I & II- Contrabass- PianoAvailable Versions: With and Without ChordsKey Features:- Suitable for beginner musicians- Comprehensive instrumentation- Digital PDF format for easy access and distribution- Classic harmony preservedEnrich your worship services and musical gatherings with this specially adapted arrangement of God Reveals His Presence. Acquire it now and inspire your audience with the beauty, joy, and depth of this iconic hymn.
$1.99
Déjeuner du matin sung in French and English with various samples (mp3)
#
David Warin Solomons
#
Déjeuner du matin sung
#
David Warin Solomons
#
SheetMusicPlus
Alto Voice,Sampler - Level 4 - SKU: A0.1350393 By David Warin Solomons. By David Warin Solomons. Contemporary,Multicultural,Singer/Songwriter,World. Ful...
(+)
Alto Voice,Sampler - Level 4 - SKU: A0.1350393 By David Warin Solomons. By David Warin Solomons. Contemporary,Multicultural,Singer/Songwriter,World. Full Performance. Duration 249. David Warin Solomons #935190. Published by David Warin Solomons (A0.1350393). Déjeuner du matin - poem by Jacques PrévertEnglish translation by Lawrence FerlinghettiMusical improvisation on 8-track Fostex with Archimedes sequencer sung by David W Solomons with various samples (1989)using my Isaiah sequence (circular A minor arpeggio feature with bass note going down by semitones returning via a dominant 7th chord)This is best heard on headphones to get the English and French versions separately.Recently described by Howie Richey as follows:sounds like Stairway to Heaven sung by Sgt. Pepper!Yup I can see that LOLFrench and English versions:Déjeuner Du MatinIl a mis le caféDans la tasseIl a mis le laitDans la tasse de caféIl a mis le sucreDans le café au laitAvec la petite cuillèreIl a tournéIl a bu le café au laitEt il a reposé la tasseSans me parlerIl a alluméUne cigaretteIl a fait des rondsAvec la fuméeIl a mis les cendresDans le cendrierSans me parlerSans me regarderIl s'est levéIl a misSon chapeau sur la têteIl a misSon manteau de pluieParce qu'il pleuvaitEt il est partiSous la pluieSans une paroleSans me regarderEt moi, j'ai prisMa tête dans ma mainEt j'ai pleuréBreakfastHe put the coffee in the cupHe put the milk inthe cup of coffeeHe put the sugarin the café au laitWith a coffee spoon he stirred he drank the café au lait and set down the cupwithout a word to mewithout a word to mehe lit a cigarettehe made smoke ringswith the smokehe put the ashesin the ash traywithout a word to mewithout a look at mehe got uphe put his hat upon his headhe put his raincoat on because it was rainingand he left in the rainwith out a wordwithout a look at meand I ....I took my head in my hand and I cried.
$5.50
Meine Blume
#
Poem by Johann Gottlieb von He
#
Meine Blume
#
Λrthvr
#
SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 1 - SKU: A0.1486641 By Poem by Johann Gottlieb von Herder. By Λrthvr. 21st Century,A Cappella,Classical,Traditio...
(+)
Mezzo-Soprano Voice,Vocal Solo - Level 1 - SKU: A0.1486641 By Poem by Johann Gottlieb von Herder. By Λrthvr. 21st Century,A Cappella,Classical,Traditional. 1 pages. Λrthvr #1063705. Published by Λrthvr (A0.1486641). A setting of the poem Meine Blume (eng.: My Flower) by Johann Gottlieb von Herder, for solo female voice or choir upper voice (without any accompaniment). You are free to transpose the score up or down and to sing it as a Vocalise (without text).If you would like to perform the piece publicly (live concert or internet), please contact me via contact form:arthvr.net/en/contactPoem text:Sei gegrüßet, kleine Blume,Blume der Vollkommenheit,Die die Heiligen und WeisenNamlos preisen;Denn des Herzens schönste ZierWohnt in Dir.Nicht auf Höhn, im stillen ThaleBlühest Du, am frischen Quell,Zeigst des weiten Himmels Bläue,Reine Treue,Und in ihr der Sonne Gold,Mild und hold.Fragst Du mich, wie heißt die Blume,Die den hohen Schmuck uns zeigt:Sonnengluth und Himmelsbläue,Lieb′ und Treue?Nimm hier dies Vergißmeinnicht,Treu′ und Licht.
$5.00
We Three Kings Commiseration Arrangement
#
Kim Kirkman
#
Kim Kirkman
#
We Three Kings Commiseration A
#
Kim Kirkman
#
SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1514360 By Kim Kirkman. By John Henry Hopkins Jnr. Arranged by Kim Kirkman. Christmas,Comedy. Score. 6 pages. Kim ...
(+)
Piano,Vocal,Voice - Level 2 - SKU: A0.1514360 By Kim Kirkman. By John Henry Hopkins Jnr. Arranged by Kim Kirkman. Christmas,Comedy. Score. 6 pages. Kim Kirkman #1088840. Published by Kim Kirkman (A0.1514360). We Three Kings re-written to commiserated with those epic walkers of old. Those of fantastic feet. Those with super sandals.Arranged for three voices and piano.Lyrics:Tutti: We three kings of Orient are;bearing gifts we traverse afar,sandals flopping, without stoppingfollowing yonder star.Refrain:O star of wonder, star of light,star with royal beauty bright,westward leading, still proceeding,How far to this Nazarite?King I: Born a King on Bethlehem's plain,gold I bring to crown him again,Walking ever, ceasing never,Wowzers my leg’s in pain.Tutti: O star of wonder, star of light,star with royal beauty bright,westward leading, still proceeding,Trav’lling on both day and night.King II: Frankincense to offer have I;incense owns a Deity nigh;Real trail-blazing, it’s hair-raising,Trudging along, I sigh. Tutti: O star of wonder, star of light,star with royal beauty bright,westward leading, still proceeding,Breaks are a true delight. King III: Myrrh is mine; its bitter perfumebreathes a life of gathering gloom;blisters bleeding, not conceding,Where is the next bathroom? Tutti: O star of wonder, star of light,star with royal beauty bright,westward leading, still proceeding,Dunes are a gruesome sight. Tutti: Glorious now, at last we’ve arrived,From our comforts we’ve been deprived:Presents given, wish we’d been driven Don’t think my knees survived. Tutti: O star of wonder, star of light,star with royal beauty bright,West we followed, pain we swallowed,Back we sorely trudge tonight. Comments as leave stage: What, all the way back again? Home again, jigged-jog. We just came all this way West and now we have to go back east?
$5.99
<
1
26
51
....
101
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Without Him
