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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
If I Ain\\\\
Non classifié
967
Piano & claviers
Piano seul
416
Piano, Voix
319
Piano, Voix et Guitare
276
Piano Facile
95
Piano grosses notes
40
1 Piano, 4 mains
38
Instruments en Do
38
2 Pianos, 4 mains
37
Orgue
20
Accompagnement Piano
20
Piano Quatuor: piano, 2 violons, violoncelle
5
Piano Trio: piano, violon, violoncelle
5
Clavier
3
Accordéon
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Ligne De Mélodie, Piano
1
2 Pianos, 8 mains
1
Piano (partie séparée)
1
+ 13 instrumentations
Retracter
Guitares
Guitare notes et tablatures
86
Guitare
53
Ligne De Mélodie, (Paroles) et Accords
44
Ukulele
30
2 Guitares (duo)
9
Paroles et Accords
9
Basse electrique
8
3 Guitares (trio)
4
Dulcimer
4
4 Guitares (Quatuor)
4
Guitare (partie séparée)
2
Ensemble de guitares
2
Guitare, Violon, Violoncelle (trio)
1
Mandoline
1
+ 9 instrumentations
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Voix
Chorale SATB
138
Chorale 3 parties
56
Chorale 2 parties
19
Chorale TTBB
13
Chorale SSAA
13
Voix Soprano, Piano
6
Voix basse, Piano
5
Voix seule
5
Chorale Unison
5
Voix duo
3
Voix Alto, Piano
3
Voix Baryton, Piano
2
Voix Soprano
2
Voix haute
2
Voix Tenor
2
Voix Tenor, Piano
1
Voix Mezzo-Soprano, Piano
1
Voix moyenne, Piano
1
Chorale SSATB
1
Chorale SSAB, Piano
1
Voix duo, Piano
1
+ 16 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
86
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
75
Flûte traversière
37
Ensemble de Clarinettes
34
Ensemble de saxophones
32
Saxophone
26
Clarinette
26
Clarinette et Piano
24
Flûte traversière et Piano
24
Quatuor de Saxophones: 4 saxophones
22
2 Saxophones (duo)
21
Saxophone (partie séparée)
19
Saxophone Alto
19
Flûte, Hautbois, Clarinette, Basson
19
Hautbois, Piano (duo)
18
Saxophone Alto et Piano
17
Saxophone Tenor et Piano
16
Hautbois (partie séparée)
16
Ensemble de Flûtes
15
Quatuor de Clarinettes: 4 clarinettes
15
Quintette de Flûte : 5 flûtes
14
Flûte et Guitare
14
Saxophone Tenor
13
2 Flûte à bec (duo)
10
Cor anglais, Piano
10
Flûte, Clarinette (duo)
9
Saxophone Soprano et Piano
8
Saxophone Baryton, Piano
7
3 Clarinettes (trio)
7
2 Hautbois (duo)
7
Flute (partie séparée)
6
2 Flûtes traversières (duo)
6
Hautbois
5
Trio de Flûtes: 3 flûtes
5
Clarinette, Trompette (duo)
5
Quatuor de Flûtes : 4 flûtes
5
Clarinette (partie séparée)
5
Saxophone, Clarinette (duo)
5
Flûte à bec Soprano
5
Clarinette, Basson (duo)
5
2 Clarinettes (duo)
5
Flûte, Violon
4
Clarinette, Violon (duo)
4
Flûte à bec Tenor
4
Clarinette Basse, Piano
4
Clarinette, Guitare (duo)
4
Ocarina
3
Saxophone Soprano
3
Flûte, Alto (duo)
3
Hautbois, Clarinette (duo)
3
Hautbois, Clarinette, Basson (trio d'anches)
2
3 Saxophones (trio)
2
Instruments en Mib
2
Clarinette et Alto
2
Saxophone Baryton
2
Flûte, Trompette (duo)
2
Hautbois, Basson (duo)
2
3 Hautbois
1
Saxophone et Guitare
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte à Bec
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Cor anglais, Guitare (duo)
1
Clarinette, Trombone (duo)
1
Flûte à bec Alto
1
Flûte à Bec, Piano
1
Flûte, Violon et Violoncelle
1
Flûte, Hautbois (duo)
1
Flûte, Clarinette et Basson
1
Hautbois, Guitare (duo)
1
Ensemble à vent
1
Saxophone et Orgue
1
Flûte, Hautbois, Piano (trio)
1
Harmonica
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte à bec Soprano, Piano
1
Flûte à bec Alto, Piano
1
Cor Anglais
1
Flûte, Violoncelle
1
Clarinette, Violoncelle (duo)
1
Piccolo
1
+ 76 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
92
Quatuor de Cuivres : 2 trompettes, trombone, tuba
66
Ensemble de Trompettes
49
Trompette
35
Trombone
25
Ensemble de Trombones
22
Trombone et Piano
18
Quatuor de Cuivres: 2 trompettes, Cor, trombone
13
Cor et Piano
12
Trompette, Piano
11
Cor
10
Cor anglais, Piano
10
Tuba
10
Trombone (partie séparée)
10
Euphonium, Piano (duo)
8
Trompette (partie séparée)
8
Trompette, Trombone (duo)
7
Tuba et Piano
6
2 Trompettes (duo)
4
Cor (partie séparée)
4
Quatuor de cuivres: 4 trombones
4
Bass Clef Instruments
4
Trompette, Cor (duo)
4
2 Trombones (duo)
4
Ensemble de Cors
3
Euphonium
3
Quatuor de Cuivres
3
Quatuor de cuivres: 4 cors
3
3 Trompettes (trio)
2
Tuba (partie séparée)
2
Quatuor de cuivres: 4 trompettes
2
3 Trombones (trio)
2
Trompette, Tuba (duo)
2
Instruments en Sib
2
2 Euphoniums et 2 Tubas
1
Trompette, Saxophone (duo)
1
Cor, Tuba (duo)
1
2 Cors (duo)
1
Instruments en Fa
1
Trombone, Tuba (duo)
1
Trio de Cuivres
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor anglais, Guitare (duo)
1
2 Tubas (duo)
1
Ensemble de Tubas
1
Trombone, Cor (duo)
1
4 Tubas
1
Cor Anglais
1
+ 43 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
132
Violon
79
Violon, Violoncelle (duo)
75
Trio à Cordes: violon, alto, violoncelle
52
Violon et Piano
48
Violoncelle
32
Alto seul
29
Quintette à cordes: 2 violons, alto, violoncelle, basse
28
Harpe
20
Violoncelle, Piano
18
Ensemble de Violons
16
Alto, Piano
15
Ensemble d'Altos
14
2 Violons (duo)
13
2 Violoncelles (duo)
11
Violon, Alto (duo)
11
Trio à Cordes: 2 violons, violoncelle
9
Alto, Violoncelle (duo)
8
2 Altos (duo)
6
Trio à Cordes: 2 violons, alto
6
Piano Trio: Violon, Alto, Piano
4
Contrebasse, Piano (duo)
3
Alto (partie séparée)
3
Contrebasse (partie séparée)
2
Contre Basse
2
2 Harpes (duo)
2
Trio à Cordes: 3 violoncelles
2
4 Violoncelles
2
Violon (partie séparée)
2
Trio à cordes: 3 violins
2
Violoncelle , Guitare (duo)
2
Ensemble de Violoncelles
1
2 Contrebasses (duo)
1
Alto et Basson
1
Trio à cordes
1
Harpe, Flûte (duo)
1
Trio à cordes: 3 altos
1
Violoncelle (partie séparée)
1
Harpe, Voix
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 35 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
195
Orchestre à Cordes
96
Orchestre
51
Ensemble Jazz
41
Ensemble de cuivres
25
Orchestre de chambre
21
Batterie
8
Jazz combo
6
Cloches
5
Ensemble de Percussions
4
Fanfare
3
Percussion (partie séparée)
2
Piano et Orchestre
1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
Timbales (partie séparée)
1
Batterie (partie séparée)
1
Quintette de Cuivres: autres combinaisons
1
Xylophone, Piano
1
Percussion
1
Xylophone
1
+ 15 instrumentations
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CONTREBASSE
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COR ANGLAIS
CORNEMUSE
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FLUTE A BEC
FLUTE A DIX…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
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Vous avez sélectionné:
If I Ain\\\\
Voix Soprano, Piano
Partitions à imprimer
6 partitions trouvées
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1
Chansons de Verlaine
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Voix Soprano, Piano
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AVANCÉ
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John Casken
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Chansons de Verlaine
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Schott Music - Digital
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SheetMusicPlus
Soprano voice and piano - difficult - SKU: S9.Q6665 For soprano and piano. Composed by John Casken. This edition: Sheet music. Downloadable. Dura...
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Soprano voice and piano - difficult - SKU: S9.Q6665 For soprano and piano. Composed by John Casken. This edition: Sheet music. Downloadable. Duration 12 minutes. Schott Music - Digital #Q6665. Published by Schott Music - Digital (S9.Q6665). French.Chansons de Verlaine were completed in 2006. The third song, Colloque sentimental, was written in 2003 for Alison Smart and Katharine Durran’s New French Song project. It was as a result of having written one short song to words by Verlaine that I subsequently decided to set two further poems to make a group of three. All three were also set by Debussy: L’ombre des arbres and Chevaux de bois appear in Ariettes Oubliées, while Colloque sentimental belongs to Debussy’s second set of Fêtes Galantes. The poems I have grouped together are linked by the idea of three different landscapes. In the first, Verlaine precedes the words of his own sad, pale landscape with words from Cyrano de Bergerac about a nightingale who fears himself about to fall into a river and drown. In the second poem the landscape has been occupied by a fairground where men, women and children watch as the hobby-horses go round and round before night falls and the church tolls a passing-bell. The third poem takes us into an old park where two ghosts recall their past. The one wonders if the other remembers the happy days of their past lives, but the other doesn’t want to remember, barely acknowledging the closeness they once shared, seeing only that ‘hope has fled, defeated, towards the dark sky.’ I am very grateful to Roger Nichols and Dominique Mols for their advice with the setting of the French texts and with the translations. John Casken Colloque sentimental was first performed by Alison Smart and Katherine Durran at the Purcell Room in London on 13 July 2004.
$19.99
Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments
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Voix Soprano, Piano
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AVANCÉ
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Opera
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Classique
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Maurice Ravel
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Nicole Elyse DiPaolo
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Arrière! Je réch
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse DiPaolo #785149. Published by Nicole Elyse DiPaolo (A0.1185473). The first of its kind, this is a genuinely playable and slightly-to-moderately simplified piano/vocal reduction of Arrière! Je réchauffe les bons, the Fire Aria from Ravel's L'enfant et les sortilèges (1925)​. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the often chaotic vocal score, particularly if the murmuring section after the standard audition cut, which is very poorly rendered in the standard reduction, is also being included. Pianists may now enjoy playing this aria comfortably, without risking strain/injury or audition-room chaos.This Accessible Accompaniment is more generous than standard audition cuts, ending just before L'enfant re-enters with j'ai peur. It is 91 measures in total and ideal for recitals as well. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
Civility
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Melanie B
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Civility
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Melanie B Guerin
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.854332 Composed by Melanie B. Guerin. Broadway,Contemporary,Musical/Show. 7 pages. Melanie B Guerin #611066...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.854332 Composed by Melanie B. Guerin. Broadway,Contemporary,Musical/Show. 7 pages. Melanie B Guerin #6110663. Published by Melanie B Guerin (A0.854332). Comedic song for a soprano who has decided this is no time to be nice! This is an uptempo song with some challenging modulations and a wide range (G3-B5), but a catchy tune and lyrics that poke fun of the belligerence of modern society.The world today’s gone mad, they say,And I feel it’s a fitting rebuke,No sooner you’re meeting a stranger,Than he’s telling you Put up your dukes, There’s no longer a role for a peaceful soul,When you’re caught between muscle and might,If you’re gonna get through,There’s just one thing to do,So you take a deep breath,And you join in the fight! Hit ‘em again,If it’s rough, make it rougher,Someone’s gotta suffer,But you’ll be the one who survives,When they’re aiming to give you the worst,You can beat ‘em by hitting ‘em first!Then hit ‘em again,Hit ‘em again,Hit ‘em again. Hit ‘em again,Make it long, make it lasting,They’re practically askingFor a pummeling right in the puss,They’ll remember how right you areWhen you leave ‘em a permanent scar,Hit ‘em again,Hit ‘em again,Hit ‘em again. A swine who would sooner cut you than concede,But he won’t look half as tough when his nose is bleeding,You can spout your facts and figures but eventually you findIt’s better to make him have to change his pants than change his mind. Hit him again,Make him dance, make him dizzy,Sure it’s brutal, but is heNot a villain deserving of grief?He’s a louse and unless I’m mistook,All his geese should be thoroughly cooked!So hit him again,And then… Hit him again,Make him shake, make him shudder,When he’s starting to sputter,It’s then you go in for the kill,Leave him all in a heap on the pitch,‘Til he’s crying like some little bitch!Hit him again,Hit him again,Hit him again, and then again!
$4.75
Pictures at an exHERbition
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sally Whitwell
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Pictures at an exHERbition
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Sally Whitwell
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whit...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whitwell (A0.873044). If you really pushed me to make a call, Mussorsgky’s Pictures at an Exhibition would be one of my favourite pieces in the classical repertoire. Somewhat outrageously, for a pianist, I prefer the colours and textures of the orchestrated version. I reasonably regularly listen to it, especially in transit. But to be honest, it’s not the kind of music that I perform all that often i.e. music by dead, white, male composers. I mean, it’s 2020 and as the meme says I can’t believe I still have to protest this sh*t. And I feel it too for those in the visual art world. I mean, things are a good deal better over there in contemporary art world, where women are exhibited regularly and everyone seems to embrace it without a fuss. As for women artists from centuries gone by, it’s less good news but they’re working on it. I’m reminded of the situation daily as my older brother, who is excellent at choosing gifts thoughtfully, gave me some Guerrilla Girls merchandise which I use as an iPad cover. Entitled Advantages of Being a Woman Artist, it’s a list of truths that’s pretty relatable for any creative woman. My favourite bit - Being reassured that whatever kind of art you make it will be labeled feminine. Ooft. Too real. And so I conceived of this song cycle as a kind of gift for those fighting the traditional, patriarchal structures of the entire creative sector. Three songs, inspired by three works by three wonderful Australian women artists of last century. All are depictions of scenes around Sydney Harbour. In-curve is inspired by Grace Cossington Smith’s The Bridge in-curve, a depiction of an unfinished Sydney Harbour Bridge, painted in 1930 The Code is inspired by Thea Proctor’s woodcut print Women with fans. It is thought to be a portrait of two other artists, printmakers Ethel Spowers and Eveline Syme, sitting above Rushcutters Bay. Where would we sail? is inspired by a very different view of the same location Still life and Rushcutters Bay by Margaret Olley.
$10.00
Halevi Songs (piano/vocal score only)
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Voix Soprano, Piano
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AVANCÉ
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Elissa Brill Pashkin
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Halevi Songs
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Elissa Brill Pashkin
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Publi...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Published by Elissa Brill Pashkin (A0.938913). NOTE: This piano/vocal score is included as part of the full score package of this piece. It is not necessary to purchase it separately if you are buying the score and parts already. Halevi Songs is a 3-movement song cycle, composed in 2002. It is a setting of three poems (in English translation of the original Hebrew) of Judah Halevi, who was a Jewish scholar and poet who lived in Spain in the Middle Ages. The three movements are I. The Mirror, II. Do the Tears Know?, and III. Calm After the Storm. Each is just under three minutes. The total duration of the piece is between 8.5 and 9 minutes. The audio clip is from the third movement, in a performance of the sextet version of this piece. A complete recording is available upon request from the composer at ebrill@hcc.edu. The performers are Dianne Smith (soprano), Janet Polvino (flute), Isabelle Boggs (clarinet), Bob Ferrier (guitar), Craig Bitterman (percussion), and Joyce Crouch (piano). It may be performed with just piano accompaniment as well. Composer's Notes: The translation of the first poem, The Mirror, is by the 19th century American poet Emma Lazarus, most famous for her familiar words engraved on the Statue of Liberty: Give me your tired, your poorâ?¦ There has been some interesting academic discussion concerning this poem. It is generally attributed to Halevi, but some scholars now believe it may have been written by someone else. (I have also seen the translation attributed to someone else.) The second poem, Do the Tears Know? was originally a tombstone inscription for one of Haleviâ??s friends. This setting was written to honor my father, Harold Allan Brill, who passed away in January, 2000. The third poem, Calm After the Storm, is actually the second half of a longer poem about a sea voyage. The three songs are meant to be performed continuously, without a break in between. Licensed by BMI.
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