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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
Thou Art the Way
Sheetmusicplus
Non classifié
825
Piano & claviers
Piano seul
398
Piano, Voix
197
Orgue
148
Piano Facile
73
Piano, Voix et Guitare
52
Instruments en Do
23
Piano Quatuor: piano, violon, alto, violoncelle
10
Piano Trio: piano, violon, violoncelle
10
2 Pianos, 4 mains
8
1 Piano, 4 mains
7
Accompagnement Piano
6
Orgue, Piano (duo)
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano grosses notes
2
1 Piano, 6 mains
1
+ 11 instrumentations
Retracter
Guitares
Piano, Guitare (duo)
114
Guitare
60
Guitare notes et tablatures
25
2 Guitares (duo)
15
Ukulele
10
Ligne De Mélodie, (Paroles) et Accords
4
Mandoline
3
Paroles et Accords
2
Basse electrique
2
4 Guitares (Quatuor)
1
Ensemble de guitares
1
Cithare
1
Banjo
1
+ 8 instrumentations
Retracter
Voix
Chorale SATB
207
Chorale 3 parties
74
Chorale 2 parties
29
Chorale TTBB
28
Chorale Unison
17
Chorale SSAA
15
Voix Alto, Piano
11
Voix Soprano, Piano
6
Chorale SSAB a cappella
5
Voix seule
5
Voix haute
3
Voix basse, Piano
3
Voix Tenor
2
Chorale SSATTB
2
Voix Baryton, Piano
2
Voix duo, Piano
2
Voix duo
2
Chorale SSAATTBB
1
Voix Tenor, Piano
1
+ 14 instrumentations
Retracter
Vents
Hautbois, Piano (duo)
260
Clarinette et Piano
224
Flûte traversière et Piano
212
Saxophone Alto et Piano
169
Saxophone Tenor et Piano
146
2 Saxophones (duo)
101
Clarinette
53
Quatuor de Saxophones: 4 saxophones
53
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
44
Flûte traversière
43
2 Flûtes traversières (duo)
33
Saxophone, Clarinette (duo)
30
Saxophone Alto
29
Flûte, Hautbois, Clarinette, Basson
26
2 Clarinettes (duo)
25
Quintette de Saxophone: 5 saxophones
24
Clarinette, Violon (duo)
23
Hautbois (partie séparée)
22
Saxophone Soprano et Piano
22
Saxophone Baryton, Piano
20
Quatuor de Clarinettes: 4 clarinettes
18
Clarinette, Trompette (duo)
16
Saxophone Tenor
16
Saxophone (partie séparée)
13
Ensemble de Clarinettes
13
Hautbois, Basson (duo)
12
Flûte, Clarinette (duo)
12
Quatuor de Flûtes : 4 flûtes
11
3 Clarinettes (trio)
11
2 Hautbois (duo)
11
Clarinette et Alto
11
Flûte à bec Soprano
10
Hautbois, Clarinette (duo)
10
Cor anglais, Piano
10
Flûte, Saxophone (duo)
9
Flûte, Trompette (duo)
8
Flûte, Violon
8
Ensemble de Flûtes
8
Hautbois, Flûte
8
Flûte irlandaise
8
Flûte, Alto (duo)
7
Flûte, Clarinette et Basson
7
2 Flûte à bec (duo)
6
Hautbois
5
Quatuor de Flûtes à bec
5
5 Flûtes à bec
5
Clarinette Basse, Piano
5
3 Saxophones (trio)
4
Flûte et Guitare
4
Ensemble de saxophones
4
Flute (partie séparée)
3
2 Clarinettes, Piano
3
Flûte à bec Alto, Piano
3
Clarinette (partie séparée)
3
Cor Anglais
3
Trio de Flûtes: 3 flûtes
3
Flûte, Clarinette, Piano (trio)
3
2 Saxophones, Piano
2
Quintette de Clarinettes: 5 clarinettes
2
Saxophone
2
Flûte à bec Alto
2
Flûte, Alto et Piano
2
Ocarina
2
Clarinette, Guitare (duo)
2
Flûte, Hautbois (duo)
2
Cor anglais, Guitare (duo)
2
Clarinette, Basson (duo)
1
Flûte à Bec, Piano
1
Hautbois, Guitare (duo)
1
Flûte et Quatuor à Cordes
1
Quintette de Flûte : 5 flûtes
1
Flûte, trombone et piano
1
Flûte, Violon, Violoncelle et Piano
1
Flûte à bec Tenor
1
Flûte, Violon et Violoncelle
1
Hautbois, violon (duo)
1
Saxophone et Orgue
1
Clarinette Basse
1
Piccolo, Piano
1
Flûte, Violon, Piano
1
Flûte, Hautbois, Piano (trio)
1
Saxophone Baryton
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Harmonica
1
3 Flûtes à bec (trio)
1
Clarinette, Harpe (duo)
1
Flûte à Bec
1
Piccolo
1
Flûte, Hautbois, Basson
1
+ 84 instrumentations
Retracter
Cuivres
Trombone et Piano
175
Trompette, Piano
118
Trompette
108
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
70
Cor et Piano
62
Trombone
31
Quatuor de Cuivres : 2 trompettes, trombone, tuba
25
Trompette, Saxophone (duo)
22
Tuba et Piano
18
Trompette (partie séparée)
17
Cor
16
2 Trompettes (duo)
16
Trompette, Trombone (duo)
15
Quatuor de Cuivres
13
2 Trombones (duo)
13
Cor anglais, Piano
10
Euphonium, Piano (duo)
8
2 Tubas (duo)
8
2 Cors (duo)
7
Tuba
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Trombone (partie séparée)
7
Tuba et Orgue
4
Quatuor de cuivres: 4 trombones
3
Cor (partie séparée)
3
Cor Anglais
3
2 Euphoniums et 2 Tubas
2
Quatuor de cuivres: 4 cors
2
Ensemble de Trompettes
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Quatuor de cuivres: 4 trompettes
2
Trio de Cuivres
2
Ensemble de Cors
2
Cor anglais, Guitare (duo)
2
3 Trompettes (trio)
1
Ensemble de Trombones
1
2 Cors, Piano
1
Ensemble de Tubas
1
2 Trompettes, Clavier (piano ou orgue)
1
Tuba (partie séparée)
1
+ 35 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
289
Violon et Piano
241
Alto, Piano
231
Violoncelle, Piano
185
Violon, Violoncelle (duo)
174
Violon
165
Trio à Cordes: violon, alto, violoncelle
141
Violoncelle
51
Quintette à cordes: 2 violons, alto, violoncelle, basse
38
Violon, Alto (duo)
28
Alto seul
28
2 Violons (duo)
23
2 Violoncelles (duo)
18
2 Altos (duo)
15
Contrebasse, Piano (duo)
15
Trio à Cordes: 2 violons, violoncelle
14
Harpe
13
Alto (partie séparée)
13
Contre Basse
8
Harpe, Voix
6
Violoncelle , Guitare (duo)
5
4 Violoncelles
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
2 Contrebasses (duo)
4
Violon, Guitare (duo)
4
Alto, Violoncelle (duo)
4
Quatuor à cordes: 4 violons
3
2 Harpes (duo)
3
Trio à cordes: 3 violins
3
Contrebasse (partie séparée)
3
Harpe, Flûte (duo)
2
Trio à Cordes: 3 violoncelles
2
Violon (partie séparée)
2
Trio à Cordes: 2 violons, alto
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Violon, Clarinette, Piano (trio)
1
Violoncelle, Orchestre
1
Violoncelle (partie séparée)
1
+ 34 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
170
Orchestre à Cordes
140
Orchestre
79
Ensemble Jazz
38
Ensemble de cuivres
35
Orchestre de chambre
33
Cloches
18
Ensemble de Percussions
10
Batterie
8
Jazz combo
5
Percussion (partie séparée)
2
Fanfare
2
Marimba
2
Piano et Orchestre
1
Ensemble d'École
1
Vibraphone
1
2 Marimbas
1
Percussion
1
Xylophone, Piano
1
+ 14 instrumentations
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Autres
Théorie de la musique
1
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CLOCHES
COR
COR ANGLAIS
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CORNET
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Vous avez sélectionné:
Thou Art the Way
SheetMusicPlus
Partitions à imprimer
6 partitions trouvées
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1
Poems of Queen Mary Stuart
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Voix Soprano, Piano
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AVANCÉ
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Robert Schumann
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Robert Schumann
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Aribert Reimann
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Poems of Queen Mary Stuart
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Schott Music - Digital
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SheetMusicPlus
Soprano voice and piano - advanced - SKU: S9.Q45888 By Robert Schumann (1852). Composed by Robert Schumann. Arranged by Aribert Reimann. This edi...
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Soprano voice and piano - advanced - SKU: S9.Q45888 By Robert Schumann (1852). Composed by Robert Schumann. Arranged by Aribert Reimann. This edition: single sheet. Downloadable, Separate edition. Op. 135. Duration 9 minutes. Schott Music - Digital #Q45888. Published by Schott Music - Digital (S9.Q45888). German • English • French • Italian.Two things in particular link Aribert Reimann with Robert Schumann, whom he much admires: their interest in the dark side of human existence and their great commitment to literature. The both took an interest in the poems by the Scottish queen Mary Stuart written at the end of her life during her imprisonment. For a long time, Reimann had cherished the wish to orchestrate the lieder by Schumann based on these poems, ‘but I always lacked in courage […] to break up the rather barren piano part which is formally self-contained and complete in itself’. But while working on Sieben Fragmente für Orchester in 1988, he decided to take the risk. And although Schumann‘s music is never really touched, Reimann succeeds in bringing the deeply moving expression of the lieder even closer to the listener.Seinen letzten Zyklus für Singstimme und Klavier komponierte Robert Schumann 1852 auf eine deutsche Übersetzung von Gisbert Freiherr von Vincke. Indem Aribert Reimann die Singstimme der fünf Gedichte mit ihren je unterschiedlichen Originalsprachen in Französisch, Italienisch, Englisch und Latein unterlegt, erscheint nicht nur die historische Figur der schottischen Königin Maria Stuart, sondern auch die Musik Schumanns in neuem, polyglotten Licht.
$15.99
Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Ruggiero Leoncavallo
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Nicole Elyse DiPaolo
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Qual fiamma...Stridono lass&ug
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole Elyse DiPaolo #3420731. Published by Nicole Elyse DiPaolo (A0.799606). The first of its kind, and the seventh entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassù, Nedda's famous aria from Leoncavallo's Pagliacci. 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 chaotic, poorly notated, and technically demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play the harp lines that nobody can hear anyway!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 an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.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 ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.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
Take My Life, and Let It Be - soprano solo, organ
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Todd Marchand
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it shall be thy royal throne
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Take My Life, and Let It Be -
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Con Spirito Music
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.726103 Composed by Todd Marchand. Christian,Sacred. 4 pages. Con Spirito Music #6101779. Published by Con S...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.726103 Composed by Todd Marchand. Christian,Sacred. 4 pages. Con Spirito Music #6101779. Published by Con Spirito Music (A0.726103). Frances Ridley Havergal (1836-1879) published several volumes of poems and hymns, devotions, and other prose writings. She is best known for the consecration hymn text, Take My Life and Let It Be, which here receives a new setting for soprano and organ. Take my life, and let it be consecrated, Lord, to thee;take my moments and my days, let them flow in ceaseless praise.Take my hands, and let them move at the impulse of thy love;take my heart, it is thine own; it shall be thy royal throne. Take my voice, and let me sing always, only, for my King;take my intellect, and use every power as thou shalt choose.Take my will and make it thine; it shall be no longer mine.Take myself, and I will be ever, only, all for thee. Thus my life will truly be consecrated, Lord, to Thee. Amen. ©Copyright 2020 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$4.99
Long Island Songs (Downloadable)
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Voix Soprano, Piano
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Tom Cipullo
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Long Island Songs
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and piano - Medium - SKU: MQ.8772-1E Composed by Tom Cipullo. 26 pages. E. C. Schirmer Music Company - Digital #8772-1E. Published by E. C...
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Soprano voice and piano - Medium - SKU: MQ.8772-1E Composed by Tom Cipullo. 26 pages. E. C. Schirmer Music Company - Digital #8772-1E. Published by E. C. Schirmer Music Company - Digital (MQ.8772-1E). English.All of the songs in this volume are connected, in one way or another, to renowned tenor and new music champion, Paul Sperry. The Long Island Songs were composed in 1992 and premiered in December of that year by Paul and underwent extensive revision in 2005. The Land of Nod was commissioned by, and is dedicated to, Paul. In 1992, he telephoned the composer and exclaimed, “I’ve just read a new book of poetry and thought immediately of you.†The composer was quite flattered until he read the poems and discovered their subject matter ranged from a hitch-hiking Manson-family devotee to matricide. The work was premiered at Merkin Hall in 1993.Contents:Long Island Songs 1. Invocation 2. The Odor of Pear 3. The Nesconset Crickets 4. The Crane at Gibbs’ Pond The Land of Nod 1. The Land of Nod 2. A Death in the Family 3. Deer in Mist and Almonds On a 19th Century Color Lithograph of Red Riding Hood by the Artist J. H.
$6.00
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
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Voix Soprano, Piano
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AVANCÉ
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Gioachino Rossini
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Nicole Elyse DiPaolo
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En proie à la tristesse
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619). The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.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
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.
$8.99
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