English version
PARTITIONS GRATUITES
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
0
Partitions
Numériques
5
Librairie
Musicale
2
Matériel
de Musique
0
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
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
Non classifié
117
PIANO & CLAVIERS
Piano seul
172
Piano, Voix
74
Orgue
26
Piano, Voix et Guitare
18
Piano Facile
8
Piano Trio: piano, violon, violoncelle
1
1 Piano, 4 mains
1
Instruments en Do
1
Clavecin
1
Instrumentations suivantes
Retracter
GUITARES
Guitare
6
Guitare notes et tablatures
3
Ligne De Mélodie, (Paroles) et Accords
1
VOIX
Chorale SATB
44
Chorale 3 parties
15
Chorale TTBB
6
Chorale
4
Chorale 2 parties
4
Chorale Unison
3
Chorale SSAA
2
Male Voice
1
Chorale SATTB
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière et Piano
13
Hautbois, Piano (duo)
9
Saxophone Alto et Piano
9
Quatuor de Clarinettes: 4 clarinettes
8
Clarinette et Piano
6
Quintette de Clarinettes: 5 clarinettes
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Flûte, Hautbois, Clarinette, Basson
5
Quatuor de Saxophones: 4 saxophones
5
Cor anglais, Piano
5
Clarinette
5
Saxophone Baryton, Piano
5
Saxophone Tenor et Piano
5
Saxophone (partie séparée)
4
Saxophone Soprano et Piano
4
Flûte traversière
4
Clarinette Basse, Piano
4
Quintette de Saxophone: 5 saxophones
4
2 Flûtes traversières (duo)
3
3 Saxophones (trio)
3
Quatuor de Flûtes : 4 flûtes
2
Ensemble de Flûtes
2
Piccolo, Piano
2
Saxophone Alto
2
Saxophone Tenor
2
Ensemble de Clarinettes
2
2 Clarinettes (duo)
2
Saxophone et Orgue
1
Ensemble de saxophones
1
3 Flûtes à bec (trio)
1
Clarinette, Orgue
1
Flûte traversière, Orgue (duo)
1
Flûte à bec Alto
1
Hautbois (partie séparée)
1
Flûte, Violon
1
Flûte et Guitare
1
Quintette de Flûte : 5 flûtes
1
2 Flûtes à bec, Guitare
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trompette
8
Euphonium, Piano (duo)
7
Trombone et Piano
6
Cor anglais, Piano
5
Cor et Piano
4
Quatuor de Cuivres
3
Trompette, violon (duo)
3
2 Cors (duo)
2
Cor
2
Trompette, Piano
2
Tuba
1
Quatuor de cuivres: 4 trompettes
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Trio de Cuivres
1
Ensemble de Trompettes
1
Tuba et Piano
1
Tuba (partie séparée)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
19
Violon
11
Violon et Piano
7
Violoncelle, Piano
5
Violon (partie séparée)
5
Trio à Cordes: violon, alto, violoncelle
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Alto, Piano
4
Violoncelle
4
Alto (partie séparée)
3
Alto seul
3
4 Violoncelles
2
Violon, Alto (duo)
2
2 Violons (duo)
2
Contre Basse
2
Contrebasse (partie séparée)
2
2 Violoncelles (duo)
1
Violon, Orgue
1
Violoncelle (partie séparée)
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
43
Orchestre
14
Ensemble de cuivres
8
Batterie
7
Orchestre à Cordes
5
Cloches
4
Orchestre de chambre
3
Marimba
2
Quintette à Vent
1
Fanfare
1
Orchestre, Violon
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
Thomas May
Violoncelle, Piano
Partitions à imprimer
5 partitions trouvées
<
1
Cello - "And Can It Be?" Theme and Variations
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles…
(+)
Cello,Piano - Level 3 - Digital Download 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
5.54 €
#
Violoncelle, Piano
#
Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
#
Dan Cutchen
#
Cello - "And Can It Be?" Theme and Variations
#
Dan Cutchen Music
#
SheetMusicPlus
Sullivan: The Lost Chord for Cello & Piano
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.549440 Composed by Sir Arthur Seym…
(+)
Cello,Piano - Level 3 - Digital Download SKU: A0.549440 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494673. Published by jmsgu3 (A0.549440). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
24.9 €
#
Violoncelle, Piano
#
Sir Arthur Seymour Sullivan
#
James M
#
dynamic control
#
Sullivan: The Lost Chord for Cello & Piano
#
jmsgu3
#
SheetMusicPlus
Bach-Gounod: Ave Maria, Schwencke version for Cello & Piano
Violoncelle, Piano
Cello,Piano - Level 2 - Digital Download SKU: A0.550915 Composed by J. S. Bach - Go…
(+)
Cello,Piano - Level 2 - Digital Download SKU: A0.550915 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and part. 12 pages. Jmsgu3 #4888259. Published by jmsgu3 (A0.550915). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.44 €
#
Violoncelle, Piano
#
J
#
James M
#
Bach-Gounod: Ave Maria, Schwencke version for Cello & Piano
#
jmsgu3
#
SheetMusicPlus
Bach: Wachet auf for Cello & Piano
Violoncelle, Piano
Cello,Piano - Level 2 - Digital Download SKU: A0.549838 Composed by Johann Sebastia…
(+)
Cello,Piano - Level 2 - Digital Download SKU: A0.549838 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3554481. Published by jmsgu3 (A0.549838). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
23.05 €
#
Violoncelle, Piano
#
Johann Sebastian Bach
#
James M
#
#
Bach: Wachet auf for Cello & Piano
#
jmsgu3
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
