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104
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66
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28
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16
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8
1 Piano, 4 mains
5
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4
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2
Piano Quatuor: piano, 2 violons, violoncelle
2
2 Pianos, 4 mains
1
+ 5 instrumentations
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Guitares
Basse electrique
298
Guitare
44
Guitare notes et tablatures
26
Ukulele
9
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7
Mandoline
7
Banjo
4
Guitare Pedal Steel
1
Ukulele Baryton
1
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26
Chorale 3 parties
9
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9
Voix duo
6
Chorale TTBB
4
Voix seule
4
Chorale Unison
2
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17
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15
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14
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14
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12
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11
3 Saxophones (trio)
10
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9
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9
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9
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7
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6
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6
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6
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5
Clarinette et Piano
5
Flûte, Clarinette (duo)
4
Harmonica
4
Quintette de Flûte : 5 flûtes
4
Saxophone Tenor
3
Flûte à bec Soprano, Basse continue
3
Trio de Flûtes: 3 flûtes
3
Quatuor de Clarinettes: 4 clarinettes
3
2 Clarinettes (duo)
3
Flûte, Hautbois, Clarinette (trio)
2
Quintette de Clarinettes: 5 clarinettes
2
Saxophone Baryton, Piano
2
Ensemble de Hautbois
2
Clarinette, Basson (duo)
2
Quatuor de Flûtes à bec
2
Instruments en Mib
2
Cor anglais, Piano
2
Flûte à bec Alto
2
2 Flûtes traversières (duo)
2
Saxophone Alto
2
Flûte à Bec
1
Flûte irlandaise
1
Flûte et Trio à cordes
1
Hautbois, Piano (duo)
1
Flûte, Violon, Piano
1
3 Flûtes à bec (trio)
1
3 Clarinettes (trio)
1
4 Hautbois
1
Ocarina
1
Saxophone
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte traversière, Basse continue
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois (partie séparée)
1
Flûte à bec Tenor
1
Flûte à bec Soprano, Piano
1
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Trompette
11
Trombone
11
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8
Trompette, Piano
6
Trombone et Piano
5
Trompette, Cor (duo)
5
2 Trombones (duo)
5
Bass Clef Instruments
3
2 Trompettes (duo)
3
Trompette, violon (duo)
3
Quatuor de Cuivres
3
Cor et Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Trompette, Trombone (duo)
2
Instruments en Sib
2
Tuba
2
Quatuor de cuivres: 4 trombones
2
3 Tubas (trio)
2
3 Cors (trio)
2
Cor anglais, Piano
2
2 Cors (duo)
2
3 Trombones (trio)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Tubas (duo)
2
Ensemble de Cors
2
Cor
2
Trombone basse
1
Quatuor de cuivres: 4 trompettes
1
Tuba et Orgue
1
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1
Tuba et Piano
1
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Violon
35
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27
Quatuor à cordes: 2 violons, alto, violoncelle
24
Violoncelle
24
Harpe
17
Violon, Alto (duo)
10
Trio à Cordes: violon, alto, violoncelle
9
2 Violons (duo)
9
Violon, Violoncelle (duo)
8
Alto, Piano
7
Trio à cordes: 3 violins
7
Violoncelle, Piano
6
Alto seul
6
Violoncelle, Contrebasse (duo)
3
Violon, Guitare (duo)
3
Trio à Cordes: 3 violoncelles
3
Autoharp
3
Harpe, Voix
2
2 Violoncelles (duo)
2
Trio à cordes: 3 altos
2
Contre Basse
2
2 Altos (duo)
2
Alto (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Piano Trio: Violon, Alto, Piano
1
4 Violoncelles
1
Alto, Violoncelle (duo)
1
Quatuor à cordes: 4 violons
1
Harpe et mandoline
1
Quatuor à cordes : 4 altos
1
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29
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23
Orchestre d'harmonie
20
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15
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7
Percussion
3
Cloches
3
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2
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2
Fanfare
2
Jazz combo
1
Conga
1
Cajon
1
Bongos
1
Ensemble de Percussions
1
Piano et Orchestre
1
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--INSTRUMENTS--
ACCORDEON
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Vous avez sélectionné:
Can Can Method
SheetMusicPlus
Partitions à imprimer
6 partitions trouvées
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Cello - "And Can It Be?" Theme and Variations
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Violoncelle, Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Cello - "And Can It Be?&q
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Dan Cutchen Music
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan C...
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Cello,Piano - Level 3 - SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
Fantaisie facile sur l’Opéra de Rossini “Le Barbier de Séville”
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jacques Offenbach
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he died in Paris on 5
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Fantaisie facile sur l’O
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Schott Music - Digital
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SheetMusicPlus
Cello and piano - intermediate to advanced - SKU: S9.Q53291 Op. 71. Composed by Jacques Offenbach. Edited by Beverley Ellis and Rainer Mohrs. Thi...
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Cello and piano - intermediate to advanced - SKU: S9.Q53291 Op. 71. Composed by Jacques Offenbach. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Op. 71. 15 pages. Schott Music - Digital #Q53291. Published by Schott Music - Digital (S9.Q53291). English • German.Jacques Offenbach, son of a Jewish cantor, was born in Cologne on 20.6.1819; he died in Paris on 5.10.1880. In 1833 his father took his fourteen-year-old son to the Paris Conservatoire, where the director Luigi Cherubini was impressed by his cello playing and accepted him as a student, even though foreign candidates were not normally admitted there. Offenbach then changed his first name ‘Jacob’ to ‘Jacques’. From 1835 he worked as a cellist at the Paris Opéra comique, making ends meet by teaching and performing. From 1850 to 1855 he was Director of Music at the Théâtre Français. He then found his own theatre to rent in Paris and put on highly successful productions of his operetta Orpheus in the Underworld (1858) and other stage works. During his lifetime he had twenty cello compositions published by Schott, among them the tutorial method Cours Méthodique de Duos pour deux Violoncelles op. 49 and various operatic arrangements for cello and piano based on themes by Bellini, Donizetti, Mozart and others - including this Fantaisie facile sur l’Opéra de Rossini: Le Barbier de Seville op. 71 in 1856 (plate no. 11461).
$3.99
Air on the G String by Bach for Cello and Piano
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Violoncelle, Piano
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DÉBUTANT
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Classique
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Johann Sebastian Bach
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Ander
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Air on the G String by Bach fo
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Woods Only, Arrangements
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SheetMusicPlus
Cello,Piano - Level 1 - SKU: A0.1119145 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred,Wedding. Score and part. 4...
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Cello,Piano - Level 1 - SKU: A0.1119145 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred,Wedding. Score and part. 4 pages. Woods Only, Arrangements #720561. Published by Woods Only, Arrangements (A0.1119145). This easy arrangement for violoncello and piano was written to be uncomplicated to perform and understand the structure of the piece. It can be freely played by beginning students, because of the ease imposed on the piece; however, this does not prevent it from being played by professionals and music teachers. It is also ideal for academic recitals, student method and ceremonies that are arranged in the same way as the piece contains. The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument.
$1.99
Once To Every Soul And Nation (Cello solo and Piano)
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Violoncelle, Piano
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FACILE
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Musique Sacrée
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Thomas J
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Stephen DeCesare
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Once To Every Soul And Nation
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Exultet Music
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.628987 Composed by Thomas J. Williams. Arranged by Stephen DeCesare. Christian,Easter,Praise & Worship,Sacred. Score and...
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Cello,Piano - Level 2 - SKU: A0.628987 Composed by Thomas J. Williams. Arranged by Stephen DeCesare. Christian,Easter,Praise & Worship,Sacred. Score and part. 14 pages. Exultet Music #6253217. Published by Exultet Music (A0.628987). This hymn text, written by James Russell Lowell (1819-1891), which was written as a protest against the Mexican War, and has been a staple in Methodist hymnals, has now been freshly arranged for a Cello solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. An accompaniment track is also available.
$4.99
Come, Let Us Use The Grace Divine (Cello solo and Piano)
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Violoncelle, Piano
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FACILE
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Musique Sacrée
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Traditional
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Stephen DeCesare
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Come, Let Us Use The Grace Div
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Exultet Music
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.629611 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred. Score and part. 11 page...
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Cello,Piano - Level 2 - SKU: A0.629611 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred. Score and part. 11 pages. Exultet Music #6356203. Published by Exultet Music (A0.629611). One of the staple hymns in the Methodist hymnal has now been freshly arranged for a Cello solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. Can be used anytime throughout the liturgical year but especially in times of renewal. An accompaniment track is also available.
$4.99
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