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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
How Far I
Non classifié
305
Piano & claviers
Piano seul
162
Piano, Voix
56
Piano Facile
53
Piano, Voix et Guitare
36
Accordéon
19
1 Piano, 4 mains
17
Piano grosses notes
15
Instruments en Do
10
Orgue
8
Piano (partie séparée)
4
2 Pianos, 4 mains
1
Accordéon, Voix
1
Piano Trio: piano, violon, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 9 instrumentations
Retracter
Guitares
Guitare notes et tablatures
14
Guitare
13
Ukulele
11
Ligne De Mélodie, (Paroles) et Accords
11
Paroles et Accords
8
Basse electrique
2
Basse électrique (partie séparée)
2
Piano, Guitare (duo)
1
Guitare (partie séparée)
1
Banjo
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
44
Chorale 3 parties
20
Chorale 2 parties
13
Chorale SSAA
8
Chorale TTBB
7
Chorale
4
Voix seule
2
Voix duo, Piano
2
Chorale SSATTB
1
Voix Soprano, Piano
1
Voix duo
1
Chorale SSAB a cappella
1
Pack Instrumental pour Chorale
1
Chorale Unison
1
+ 9 instrumentations
Retracter
Vents
2 Saxophones (duo)
24
Clarinette
21
Saxophone Alto
21
Flûte traversière
20
Saxophone Tenor
19
2 Clarinettes (duo)
12
Clarinette et Piano
12
Saxophone (partie séparée)
12
Flûte, Hautbois, Clarinette, Basson
11
Flûte à Bec
11
Quatuor de Saxophones: 4 saxophones
11
2 Flûte à bec (duo)
10
2 Flûtes traversières (duo)
10
Saxophone Alto et Piano
10
3 Saxophones (trio)
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
Saxophone Soprano
8
Hautbois, Piano (duo)
8
Flûte traversière et Piano
7
Saxophone Tenor et Piano
7
Clarinette (partie séparée)
6
Saxophone, Clarinette (duo)
6
3 Clarinettes (trio)
6
Flûte à bec Soprano
5
Quatuor de Clarinettes: 4 clarinettes
5
Hautbois (partie séparée)
5
Quintette de Saxophone: 5 saxophones
5
Cor Anglais
4
Flute (partie séparée)
4
Hautbois, Basson (duo)
4
Clarinette, Trompette (duo)
4
Flûte, Hautbois, Clarinette (trio)
3
Hautbois, Flûte
3
Quatuor de Flûtes : 4 flûtes
3
Hautbois, Clarinette (duo)
3
Trio de Flûtes: 3 flûtes
3
2 Hautbois (duo)
3
Flûte, Clarinette (duo)
3
Clarinette, Violon (duo)
3
3 Hautbois
2
Quintette de Clarinettes: 5 clarinettes
2
Saxophone
2
Flûte, Saxophone (duo)
2
Saxophone Soprano et Piano
2
Ocarina
2
Clarinette et Alto
2
Flûte, Alto (duo)
2
Clarinette, Basson (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Alto
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte, Hautbois, Piano (trio)
1
Ensemble de Flûtes
1
Ensemble de Clarinettes
1
Flûte, Trompette (duo)
1
Hautbois, Violon, Piano
1
Flûte, Hautbois, Basson
1
Flûte, Clarinette, Violon (trio)
1
Saxophone et Orgue
1
Flûte, Hautbois (duo)
1
Flûte, Clarinette et Basson
1
Flûte, Violon
1
Quintette de Flûte : 5 flûtes
1
Hautbois
1
Clarinette, Guitare (duo)
1
+ 60 instrumentations
Retracter
Cuivres
Trompette
20
Trombone
18
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
17
Trompette (partie séparée)
14
Quatuor de Cuivres : 2 trompettes, trombone, tuba
10
Cor
10
Euphonium
9
Trombone et Piano
9
2 Trompettes (duo)
8
2 Trombones (duo)
8
Trombone (partie séparée)
6
Trompette, Trombone (duo)
5
Trompette, Piano
5
Trompette, Saxophone (duo)
4
Cor Anglais
4
Tuba (partie séparée)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Cor et Piano
3
2 Cors (duo)
3
Quatuor de cuivres: 4 trombones
2
Cor (partie séparée)
2
Tuba et Piano
1
Cor, Tuba (duo)
1
Trompette, Cor (duo)
1
Quatuor de cuivres: 4 cors
1
Trombone, Cor (duo)
1
Tuba
1
+ 22 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
37
Violon
31
Violon, Violoncelle (duo)
28
2 Violons (duo)
18
Violoncelle
18
Violon et Piano
17
Alto seul
14
Alto, Piano
12
Violoncelle, Piano
10
Violon (partie séparée)
9
2 Altos (duo)
8
Harpe
8
2 Violoncelles (duo)
7
Violon, Alto (duo)
7
Alto (partie séparée)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Trio à Cordes: 2 violons, violoncelle
4
Trio à Cordes: violon, alto, violoncelle
4
Violoncelle (partie séparée)
3
Alto, Violoncelle (duo)
2
Trio à Cordes: 3 violoncelles
2
Trio à cordes: 3 violins
2
Contre Basse
2
Trio à cordes: 3 altos
2
2 Harpes (duo)
2
Contrebasse, Piano (duo)
1
2 Contrebasses (duo)
1
Contrebasse (partie séparée)
1
Harpe, Voix
1
4 Violoncelles
1
Piano Trio: Violon, Alto, Piano
1
Trio à Cordes: 2 violons, alto
1
+ 27 instrumentations
Retracter
Orchestre & Percussions
Fanfare
35
Orchestre d'harmonie
31
Orchestre
31
Orchestre à Cordes
18
Ensemble de cuivres
13
Percussion (partie séparée)
9
Orchestre de chambre
5
Ensemble Jazz
5
Cloches
4
Batterie (partie séparée)
3
Vibraphone
3
Jazz combo
2
Batterie
2
Ensemble de Percussions
2
Marimba
1
Timbales (partie séparée)
1
+ 11 instrumentations
Retracter
Autres
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
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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
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)
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Note4Piano
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Vous avez sélectionné:
How Far I
Orchestre de chambre
Partitions à imprimer
5 partitions trouvées
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1
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Canticum Canticorum for Krzysztof Penderecki
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Orchestre de chambre
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AVANCÉ
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MohammadHadi Ayanbod
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Canticum Canticorum for Krzysz
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Rimorarte Edition
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. ...
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Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Άσμα Ασμάτων, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people … not in the messages …. The elements and structure of a language … are only symbols …. Meanings are not transmittable … Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section – the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.
$24.99
Wesendonck-Lieder
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Orchestre de chambre
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Hans Werner Henze and Richard
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Wesendonck-Lieder
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Schott Music - Digital
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SheetMusicPlus
1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 · 0 · 0 - Hfe. - Str. (6 · 4 · 4 · 4 · 2) alto and chamb...
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1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 · 0 · 0 - Hfe. - Str. (6 · 4 · 4 · 4 · 2) alto and chamber orchestra - SKU: S9.Q2899 Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner. Composed by Hans Werner Henze and Richard Wagner. This edition: conductor's and study score. Music Of Our Time. Downloadable, Full and study score. Duration 15 minutes. Schott Music - Digital #Q2899. Published by Schott Music - Digital (S9.Q2899). German.During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze’s focal point of interest. In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.' - Hans Werner Henze.
$45.99
Air On The G String (BWV 1068) / Fugue c minor (BWV 847)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Air On The G String
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Uwe Roessler
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Conte...
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Chamber Orchestra - Level 4 - SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Contemporary,Contest,Festival,Jazz. Score and parts. 32 pages. Uwe Roessler #707241. Published by Uwe Roessler (A0.1103957). This arrangement consists of two parts which can be played either seperately, or consecutively: the famous “Air On The G String†(BWV 1068, as in the 1871 arrangement by August Wilhemj), inspired by Jaques Loussier´s “Play Bachâ€- version, and the fugue c-minor from the Well-Tempered Piano (BWV 847), inspired by the magnificent Turtle Island String Quartet´s incomparable swinging rendition (hence the video link). There are several options of playing this arrangement: “Air†has two parts which can be repeated – thus, violin1 and cello can distribute the theme. Of course, these repetitions are optional. If you want to play the Air only – there is an optional ending in bar 22. If you want to play only the fugue – start from bar 23 (intro), or from bar 30 (theme). Or you choose to play Air and fugue consecutively. The arrangement works great either ways ;-). Piano voice is written out. However, there are also chord symbols for your own voicings. Minimal instrumentation: piano trio (violin1, cello, piano). Comes with full score and all individual parts. Optional voices for violin 2 and bass, clarinet Bb, guitar, and drums included. Professional sheet material. I´ve listed quite a lot of songs, so far: Movie Themes and classic Pop songs for this kind of instrumentation, and others. Browse ;-) Have fun with my arrangements!
$30.00
PEACE, MY HEART, from "Across the Wide" for soprano and string ensemble with piano
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Orchestre de chambre
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INTERMÉDIAIRE
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Gabriel Ruiz-Bernal
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PEACE, MY HEART, from "Ac
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Gabriel Ruiz-Bernal
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal ...
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Chamber Orchestra - Level 3 - SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal #6328079. Published by Gabriel Ruiz-Bernal (A0.893968). PEACE, MY HEART. For soprano and string ensemble with piano. Also available for soprano and piano.(from song cycle Across the Wide: Songs of Farewell)Text by Rabindranath TagoreLevel of difficulty for the voice: IntermediateLevel of difficulty for the pianist: Low intermediateLevel of difficulty for the string ensemble: Low intermediateApproximate length: 3 minutes, 46 secondsPeace, my heart, let the time for the parting be sweet.Let it not be a death but completeness.Let love melt into memory and pain into songs.Let the flight through the sky end in the folding of the wings over the nest.Let the last touch of your hands be gentle like the flower of the night.Stand still, O Beautiful End, for a moment, and say your last words in silence.I bow to you and hold up my lamp to light you on your way.
$40.00
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