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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
Simply Three
Non classifié
137
Piano & claviers
Piano seul
24
Piano Facile
6
Piano, Voix
4
Instruments en Do
4
Orgue
3
Piano, Voix et Guitare
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Trio: piano, violon, violoncelle
1
+ 3 instrumentations
Retracter
Guitares
Guitare
5
Banjo
2
Dulcimer
2
Guitare notes et tablatures
2
Mandoline, Guitare (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
Ukulele
1
+ 2 instrumentations
Retracter
Voix
Chorale 3 parties
17
Chorale SATB
12
Chorale 2 parties
2
Voix haute
1
Vents
2 Saxophones (duo)
93
Saxophone, Clarinette (duo)
53
2 Clarinettes (duo)
51
2 Flûtes traversières (duo)
46
Clarinette, Violon (duo)
36
Clarinette, Trompette (duo)
33
Hautbois, Basson (duo)
20
Clarinette et Alto
20
2 Hautbois (duo)
19
Flûte, Clarinette (duo)
19
Hautbois, Clarinette (duo)
17
Hautbois, Flûte
16
Flûte, Saxophone (duo)
15
Flûte, Violon
15
Flûte, Alto (duo)
15
Flûte, Trompette (duo)
13
Quatuor de Saxophones: 4 saxophones
12
Hautbois (partie séparée)
11
Clarinette
10
Flûte traversière et Piano
10
Clarinette et Piano
7
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Tenor et Piano
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Hautbois, Piano (duo)
4
3 Clarinettes (trio)
3
Saxophone Soprano et Piano
3
Cor anglais, Piano
2
Flûte, Hautbois, Clarinette (trio)
2
Saxophone Alto
2
Saxophone Tenor
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette Basse, Piano
2
Saxophone Baryton, Piano
2
Flûte traversière
2
Saxophone Alto et Piano
2
Flûte, Clarinette et Basson
1
Flûte, Hautbois, Clarinette, Basson
1
Flute, harpe et violon
1
Piccolo, Piano
1
Ensemble de saxophones
1
Flûte, Hautbois, Basson
1
Flûte à bec Soprano
1
Trio de Flûtes: 3 flûtes
1
3 Saxophones (trio)
1
+ 40 instrumentations
Retracter
Cuivres
Trompette, Saxophone (duo)
39
Trompette, Trombone (duo)
20
2 Trombones (duo)
19
2 Trompettes (duo)
16
Trombone et Piano
6
Trompette, Piano
5
Trompette
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Euphonium, Piano (duo)
2
Cor anglais, Piano
2
Quatuor de Cuivres
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Tuba et Piano
1
Cor
1
2 Tubas (duo)
1
Cor et Piano
1
+ 11 instrumentations
Retracter
Cordes
Trio à cordes
29
2 Violoncelles (duo)
21
2 Violons (duo)
20
2 Altos (duo)
19
Violon, Alto (duo)
18
Violon, Violoncelle (duo)
18
Quatuor à cordes: 2 violons, alto, violoncelle
7
Trio à Cordes: violon, alto, violoncelle
6
Violon et Piano
5
Alto, Piano
5
Violoncelle, Piano
4
4 Violoncelles
2
Harpe
2
Violon
2
Trio à Cordes: 2 violons, violoncelle
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Trio à Cordes: 3 violoncelles
1
Alto seul
1
Contrebasse, Piano (duo)
1
Violoncelle
1
+ 15 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
40
Orchestre
12
Orchestre à Cordes
2
Orchestre de chambre
1
Piano et Orchestre
1
Cloches
1
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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…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
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LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
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Vous avez sélectionné:
Simply Three
Piano, Voix
Partitions à imprimer
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Three Songs on Poems by Laura Shovan
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1208045 Composed by Daniel B…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1208045 Composed by Daniel Burwasser. Classical,Contemporary. Score. 20 pages. Head and Stem #806172. Published by Head and Stem (A0.1208045). Composed in 2023, these three songs are intended to be performed as a cycle. The opening song, “Walking Back from the Mailbox†expresses a subdued innocence and reflects a kind of “ceasing to be†as per the author. With the 2nd song, “There Must Be a Gateâ€, a stormier feeling is expressed but also hints at a resolution. The closing song, “Alternative Facts†represents struggle and where one can hear the character simply slipping away in the final bars.For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$12.00
11.04 €
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Piano, Voix
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Daniel Burwasser
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Three Songs on Poems by Laura Shovan
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Head and Stem
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SheetMusicPlus
More Than You Know
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794075 Composed by Vincent Y…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794075 Composed by Vincent Youmans. Arranged by Dave Gingras, John E. Dosher. Contemporary. Score. 2 pages. DAVID LEE GINGRAS #6053215. Published by DAVID LEE GINGRAS (A0.794075). More Than You Know is a popular song, composed by Vincent Youmans with lyrics by Billy Rose and Edward Eliscu. The song was published in 1929. The song was introduced in the Broadway musical Great Day where it was sung by Mayo Methot. It was also popularized on the stage and radio by Jane Froman.The song was subsequently featured in three musical films: Hit the Deck (1955), sung by Tony Martin; Funny Lady (1975), sung by Barbra Streisand (who first recorded it for her 1967 studio album, Simply Streisand); and The Fabulous Baker Boys (1989) sung by Michelle Pfeiffer. It has been recorded by many artists. This version features a root-based chord-blocking technique we have used in a number of our arrangements. It's not too hard and sounds great!
$4.99
4.59 €
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Piano, Voix
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Vincent Youmans
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Dave Gingras, John E
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More Than You Know
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DAVID LEE GINGRAS
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SheetMusicPlus
O Come, O Come Emmanuel (3 leveled arrangements)
Piano, Voix
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.857536 Composed by English L…
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Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.857536 Composed by English Lyrics by John M. Neal, 13th Century Plainsong. Arranged by JudisPiano. Christmas,Concert,Instructional,Sacred,Standards. Score. 8 pages. JudisPiano #6204455. Published by JudisPiano (A0.857536). 3 Levels of this Sacred Christmas Favorite! The Yes, You Can! Series. Level One starts off simply with just the melody and a single note in the left hand. Level Two adds left hand fifths and harmonies, and a few more right hand harmonies. Level Three adds increased movement and emotion in the left hand. Start where you are, and level up each new season! Happy practicing!
$5.99
5.51 €
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Piano, Voix
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English Lyrics by John M
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JudisPiano
#
O Come, O Come Emmanuel
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JudisPiano
#
SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voix
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
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Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed 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. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed 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. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
55.21 €
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Piano, Voix
#
Richard Wagner
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The Master Singers of Nuremberg
#
SheetMusicPlus
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