Partitions Numériques de Better With A Man pour Harpe

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TRI ET FILTRES

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PIANO & CLAVIERS

Piano seul 154 Piano Facile 79 Piano, Voix 27 Piano, Voix et Guitare 22 Instruments en Do 13

Orgue 9 Accompagnement Piano 6 1 Piano, 4 mains 4 Piano Quatuor: piano, 2 violons, violoncelle 3 2 Pianos, 4 mains 2 Clavier 1

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GUITARES

Guitare 20 Guitare notes et tablatures 14 Mandoline 6 Ligne De Mélodie, (Paroles) et Accords 3 Ukulele 2

Paroles et Accords 2 Guitare (partie séparée) 2 Basse electrique 2 4 Guitares (Quatuor) 2 3 Guitares (trio) 1

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VOIX

Chorale SATB 42 Chorale 3 parties 13 Chorale 2 parties 9 Chorale TTBB 5 Voix Soprano, Piano 4

Voix duo 2 Chorale SSAA 2 Voix Tenor, Piano 1 Chorale Unison 1

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VENTS

Quatuor de Saxophones: 4 saxophones 25 Hautbois, Piano (duo) 24 Clarinette et Piano 23 Flûte traversière et Piano 22 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 19

Saxophone Alto et Piano 17 Saxophone Soprano et Piano 16 2 Saxophones (duo) 15 Flûte, Hautbois, Clarinette, Basson 15 Quintette de Saxophone: 5 saxophones 15 Saxophone Tenor et Piano 12 Saxophone Baryton, Piano 10 Flûte traversière 10 Saxophone (partie séparée) 9 3 Saxophones (trio) 9 Clarinette Basse, Piano 8 Saxophone Alto 8 Quatuor de Flûtes à bec 7 Clarinette 7 Hautbois (partie séparée) 7 Quatuor de Clarinettes: 4 clarinettes 6 5 Flûtes à bec 5 2 Flûtes traversières (duo) 5 Cor anglais, Piano 5 2 Clarinettes (duo) 5 Quatuor de Flûtes : 4 flûtes 5 Flûte à bec Soprano 5 2 Flûte à bec (duo) 4 3 Clarinettes (trio) 4 Flûte à Bec 4 Quintette de Flûte : 5 flûtes 3 Trio de Flûtes: 3 flûtes 3 Saxophone, Clarinette (duo) 3 Clarinette (partie séparée) 3 Clarinette, Trompette (duo) 3 Clarinette, Violon (duo) 2 3 Flûtes à bec (trio) 2 Quintette de Clarinettes: 5 clarinettes 2 Flûte, Violon 2 Hautbois, Clarinette, Basson (trio d'anches) 2 Saxophone Tenor 2 Ensemble de Flûtes 2 Flûte, Clarinette (duo) 2 Clarinette, Basson (duo) 2 Flûte, Violoncelle 2 Flute, harpe et violon 2 Hautbois, Clarinette (duo) 1 Flûte et Guitare 1 Hautbois, Flûte 1 Flûte à bec Alto 1 Flûte, Trompette (duo) 1 2 Hautbois (duo) 1 Ensemble de Clarinettes 1 Clarinette, Guitare (duo) 1 Flûte, Saxophone (duo) 1 Clarinette et Alto 1 Flûte, Alto (duo) 1 Saxophone et Piano 1 Flute (partie séparée) 1 Flûte irlandaise 1 Cor Anglais 1 Hautbois, Basson (duo) 1 Flûte, Hautbois, Clarinette (trio) 1

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CUIVRES

Trompette, Piano 24 Cor et Piano 15 Trombone et Piano 13 Trompette 12 Tuba et Piano 11

Trombone (partie séparée) 9 Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 9 Cor 6 Trombone 6 Cor anglais, Piano 5 Quatuor de Cuivres : 2 trompettes, trombone, tuba 5 Trompette (partie séparée) 5 Tuba 5 Cor (partie séparée) 3 Trompette, Saxophone (duo) 3 Quatuor de cuivres: 4 trombones 3 Ensemble de Cors 2 3 Tubas (trio) 2 3 Trombones (trio) 2 Trompette, Trombone (duo) 2 4 Tubas 2 Quatuor de cuivres: 4 trompettes 2 Euphonium, Piano (duo) 2 2 Trombones (duo) 2 3 Cors (trio) 2 Ensemble de Trompettes 2 Trombone, Cor (duo) 1 Euphonium, Tuba (duo) 1 2 Cors (duo) 1 Tuba (partie séparée) 1 Ensemble de Trombones 1 Cor Anglais 1 Trompette, Cor (duo) 1 2 Trompettes (duo) 1

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CORDES

Quatuor à cordes: 2 violons, alto, violoncelle 37 Violon et Piano 29 Violoncelle, Piano 22 Alto, Piano 21 Violoncelle 16 Violon 10 Violon, Alto (duo) 10 Violon, Violoncelle (duo) 9 2 Violoncelles (duo) 7 Contrebasse, Piano (duo) 7 Trio à Cordes: violon, alto, violoncelle 5 4 Violoncelles 5 2 Violons (duo) 5 Alto (partie séparée) 4 Harpe 4

Alto seul 3 Contre Basse 3 Trio à cordes: 3 altos 3 2 Altos (duo) 3 Trio à cordes: 3 violins 2 Violon (partie séparée) 2 Alto, Violoncelle (duo) 2 Contrebasse (partie séparée) 2 Trio à Cordes: 3 violoncelles 2 Quatuor à cordes : 4 altos 2 Quintette à cordes: 2 violons, alto, violoncelle, basse 2 Trio à Cordes: 2 violons, violoncelle 2 Quatuor à cordes: 4 violons 2 Harpe, Flûte (duo) 1

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PERCUSSIONS & ORCHESTRES

Orchestre d'harmonie 42 Orchestre 21 Ensemble Jazz 8 Xylophone, Piano 6 Jazz combo 6

Ensemble de cuivres 5 Orchestre à Cordes 5 Percussion (partie séparée) 2 Cloches 2 Orchestre de chambre 2 Xylophone 1 Ensemble de Percussions 1 Fanfare 1 Quintette de Cuivres: autres combinaisons 1 Vibraphone 1 Batterie (partie séparée) 1

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AUTRES

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Better With A Man

Harpe

Partitions à imprimer

4 partitions trouvées

Old French Song

Harpe

Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Perio…(+)

Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Period, Repertoire, Recital. Individual Part, Solo Part. 6 pages. Published by Luis Anjos Teixeira
The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him“. In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s. Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück“. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children". On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July. By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom. On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published. P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition. The first version is in the original key of g minor, the second is transposed to „a minor“, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback. A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts. I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself. May be the staccatos suites you best, and you should try it. The score was written on Finale. The sound file was produced with samplers from Garritan, intended as an audio support for the presentation of the score. A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself. Thank you very much for taking your time to read this text and to listen to the file. I hope you enjoy the music. The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him“. In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s. Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück“. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children". On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July. By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom. On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published. P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition. The first version is in the original key of g minor, the second is transposed to „a minor“, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback. A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts. I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself. May be the staccatos suites you best, and you should try it. The score was written on Finale. The sound file was produced with samplers from Garritan, intended as an audio support for the presentation of the score. A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself. Thank you very much for taking your time to read this text and to listen to the file. I hope you enjoy the music.

$4.99 4.57 € #Harpe #Pyotr Ilich Tchaikovsky #Luis Anjos Teixeira #Old French Song #Luis Anjos Teixeira #SheetMusicPlus

Ricordi di Napoli No.1 Serenade, op. 83

Harpe

Harp - Advanced - Digital Download Composed by Elias Parish Alvars. Romantic Period. Sc…(+)

Harp - Advanced - Digital Download Composed by Elias Parish Alvars. Romantic Period. Score. 9 pages. Published by Amadeus Arte Editions
SÉRÉNADE / composée pour la / HARPE / et dédiée à son Élève / madame la comtesse / ESTERHAZYby Parish AlvarsThe outstanding characteristic of the Serenade is its extensive use of harmonics.The transition to the coda is brought about by a descending chromatic scale produced by sliding the metallic part of the tuning key on the fourth octave A string, an effect invented by Parish Alavars and almost always (and inexplicably) dispensed with today. This scale terminates in a trill and an ascending scale fragment that ends with a pedal slide. Berlioz? impression of Parish Alvars? playing ? ?This is the music of another world? ? can hardly be illustrated better than by this passage. An outstanding solo piece composed as all the Souvenir de Neaples in one of the happiest time of Parish Alvars life.SÉRÉNADE / composée pour la / HARPE / et dédiée à son Élève / madame la comtesse / ESTERHAZYby Parish AlvarsThe outstanding characteristic of the Serenade is its extensive use of harmonics.The transition to the coda is brought about by a descending chromatic scale produced by sliding the metallic part of the tuning key on the fourth octave A string, an effect invented by Parish Alavars and almost always (and inexplicably) dispensed with today. This scale terminates in a trill and an ascending scale fragment that ends with a pedal slide. Berlioz? impression of Parish Alvars? playing ? ?This is the music of another world? ? can hardly be illustrated better than by this passage. An outstanding solo piece composed as all the Souvenir de Neaples in one of the happiest time of Parish Alvars life.

$6.00 5.5 € #Harpe #Elias Parish Alvars #Ricordi di Napoli No.1 Serenade, op. 83 # Amadeus Arte Editions #SheetMusicPlus

L'Arpa di Ermete

Harpe

Harp - Level 2 - Digital Download SKU: A0.808935 Composed by Vincenzo Palermo. 20th…(+)

Harp - Level 2 - Digital Download SKU: A0.808935 Composed by Vincenzo Palermo. 20th Century. Score. 16 pages. Preludio s.r.l. #5213939. Published by Preludio s.r.l. (A0.808935). The Hermesâ€™ harp evokes suggestions from the ancient world that reflect themselves in a modern way: the image of an instrument of Â«thaumaturgicÂ» properties, which is capable of vibrating wonderfully even without a performer, passing from the hands of his divine creator to other, as divine or semidivine, but always deserving, for better or worse, to start hypnotic lullabies accompanying myths now poignant, now absolutely pure.The constant rhythmic pattern that characterizes this piece takes its inspiration from the energy emanating from the magical instrument that, at the end of its cycle and even without its elected player, and thrown into the waters of a lake, still, from the bottom of these, it keeps on playing its haunting dirges.Vincenzo Palermo

$9.99 9.15 € #Harpe #Vincenzo Palermo #L'Arpa di Ermete #Preludio s.r.l. #SheetMusicPlus

Passacaglia For Harp

Harpe

Harp - Level 5 - Digital Download SKU: A0.889432 Composed by Johann Sebastian Bach.…(+)

Harp - Level 5 - Digital Download SKU: A0.889432 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Standards. Score. 10 pages. Luis Anjos Teixeira #4736137. Published by Luis Anjos Teixeira (A0.889432). I found this Passacaglia from Bach among some of my own handwritten manuscripts. It is a phenomenal piece. Bach was definitive a great artist, a Genius. Passacaglia is an Italian word. This music form was originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. In this piece we can clearly experience this â€žSpanish strumming between â€žBars 137 and 145. The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over an ostinato bass pattern (which itself may be varied). I added to this piece some interpretation symbols and rearranged it for the harp but every single note was left as it would be found in the original version. The piece is appropriate for advanced performers. Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. The piece is difficult but very Human. It requires focused endurance and some practice on certain passages. Once learned you will also be playing much better. Feel Free to apply in this piece the Art and technic that expresses entirely your individual skills and taste. Have fun! It is a piece that can be used in many different kinds of situations, from a serious concert hall to a marriage, it is perfect for Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file is the version in D minor for a concert harp, it was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira

$7.55 6.92 € #Harpe #Johann Sebastian Bach #Luis Anjos Teixeira #Passacaglia For Harp #Luis Anjos Teixeira #SheetMusicPlus