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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
Move Like That
Non classifié
529
Piano & claviers
Piano seul
174
Piano, Voix
62
Piano Facile
27
Orgue
11
Piano, Voix et Guitare
11
2 Pianos, 4 mains
6
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano Trio: piano, violon, violoncelle
3
Instruments en Do
3
2 Pianos, 8 mains
2
Orgue, Trompette (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
Guitare
27
Guitare notes et tablatures
14
Basse electrique
6
2 Guitares (duo)
5
Guitare, Flûte, Clarinette
2
Ukulele
2
Mandoline
1
Piano, Guitare (duo)
1
Ensemble de Ukulélés
1
Ligne De Mélodie, (Paroles) et Accords
1
Cithare
1
Ensemble de guitares
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
54
Chorale 3 parties
10
Chorale TTBB
8
Chorale SSAA
4
Voix Baryton, Piano
2
Voix seule
1
Voix Alto, Piano
1
Chorale SSATTB
1
Chorale Unison
1
Chorale 2 parties
1
+ 5 instrumentations
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Vents
Ensemble de saxophones
39
Quatuor de Saxophones: 4 saxophones
35
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
33
Quintette de Saxophone: 5 saxophones
31
Flûte traversière et Piano
29
2 Flûtes traversières, Piano
25
Clarinette et Piano
23
Hautbois, Piano (duo)
21
Flûte, Hautbois, Clarinette, Basson
17
Ensemble de Clarinettes
15
Saxophone Soprano et Piano
13
Quatuor de Clarinettes: 4 clarinettes
13
Saxophone Tenor et Piano
13
Quatuor de Flûtes : 4 flûtes
11
Saxophone Baryton, Piano
11
Clarinette Basse, Piano
11
Saxophone Alto et Piano
11
Cor anglais, Piano
10
Ensemble de Flûtes
8
2 Saxophones (duo)
8
Clarinette
8
Quintette de Clarinettes: 5 clarinettes
7
2 Flûtes traversières (duo)
7
Quintette de Flûte : 5 flûtes
6
2 Clarinettes (duo)
4
3 Saxophones (trio)
4
Flûte traversière
4
Quatuor de Flûtes à bec
3
2 Flûte à bec (duo)
3
Clarinette, Basson (duo)
3
Hautbois (partie séparée)
3
3 Clarinettes (trio)
2
Saxophone Tenor
2
Hautbois, Harpe
2
Flûte à Bec
2
2 Hautbois (duo)
2
Saxophone Alto
2
3 Flûtes à bec (trio)
2
Hautbois, Basson (duo)
1
Flûte, Violon, Piano
1
Flûte et Guitare
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Basson et Piano
1
Flûte, Clarinette (duo)
1
Cor anglais et Harpe (duo)
1
Saxophone (partie séparée)
1
Trio de Flûtes: 3 flûtes
1
Flûte irlandaise
1
Harmonica
1
5 Flûtes à bec
1
Flute (partie séparée)
1
2 Cors Anglais Et Pianoforte
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte à bec Soprano, Piano
1
Flûte à bec Soprano
1
Hautbois, Guitare (duo)
1
Clarinette, Harpe (duo)
1
Piccolo, Piano
1
Flûte, Hautbois (duo)
1
+ 54 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
58
Ensemble de Trompettes
40
Quatuor de Cuivres : 2 trompettes, trombone, tuba
23
Trombone et Piano
20
Euphonium, Piano (duo)
16
Ensemble de Trombones
12
Quatuor de Cuivres
11
Cor anglais, Piano
10
Cor et Piano
10
Trompette, Piano
8
Trompette
8
Tuba et Piano
8
Cor
6
Tuba
5
Ensemble de Cors
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trombone
4
Quatuor de cuivres: 4 trompettes
3
Trompette, Trombone (duo)
2
3 Trompettes (trio)
2
Trompette (partie séparée)
2
2 Euphoniums et 2 Tubas
2
4 Tubas
2
Quatuor de cuivres: 4 cors
1
Cor anglais et Harpe (duo)
1
2 Cors (duo)
1
Tuba et Orgue
1
2 Cors Anglais Et Pianoforte
1
2 Trombones (duo)
1
Euphonium
1
2 Euphoniums (duo)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone basse et Piano
1
Quatuor de cuivres: 4 trombones
1
2 Tubas (duo)
1
2 Trompettes (duo)
1
3 Euphoniums
1
+ 32 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
67
Violon et Piano
37
Trio à Cordes: violon, alto, violoncelle
24
Violoncelle, Piano
19
Violon
15
Alto, Piano
15
Violon, Basson (duo)
11
2 Violons (duo)
8
Violoncelle
7
Violon, Violoncelle (duo)
6
Harpe
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Ensemble d'Altos
5
Ensemble de Violons
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Harpe, Flûte (duo)
4
Contre Basse
4
Violon, Alto (duo)
3
2 Altos (duo)
3
Contrebasse, Piano (duo)
3
Violon (partie séparée)
2
Alto (partie séparée)
2
Alto seul
2
Trio à Cordes: 3 violoncelles
2
4 Violoncelles
2
2 Violoncelles (duo)
2
4 Contrebasses
1
Trio à Cordes: 2 violons, violoncelle
1
Quatuor à cordes : 4 altos
1
Ensemble de Violoncelles
1
Harpe, Voix
1
Violoncelle, Contrebasse (duo)
1
Piano Trio: Violon, Alto, Piano
1
Harpe et Piano
1
Trio à cordes: 3 altos
1
Trio à cordes: 3 violins
1
Violon, Clarinette, Piano (trio)
1
2 Contrebasses (duo)
1
Quatuor à cordes: 4 violons
1
Alto, Violoncelle (duo)
1
+ 35 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
97
Orchestre
54
Orchestre à Cordes
27
Orchestre de chambre
12
Ensemble Jazz
10
Ensemble de cuivres
9
Ensemble de Percussions
6
Jazz combo
5
Cloches
3
Batterie
2
Marimba
2
Quintette de Cuivres: autres combinaisons
1
Piano et Orchestre
1
Conga
1
Xylophone, Piano
1
+ 10 instrumentations
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CORNET
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Vous avez sélectionné:
Move Like That
Violoncelle
Partitions à imprimer
7 partitions trouvées
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1
Kommos (Lamentation) / "When the World Moved On" - Violoncello
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.1018958 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078715. Pub...
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Cello Solo - Level 4 - SKU: A0.1018958 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078715. Published by Benjamin Sajo (A0.1018958). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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Violoncelle
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Cello - Level 3 - SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published ...
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Cello - Level 3 - SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Canções e sambinhas (1996) for cello and piano
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Canções e sambin
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Thomas Oboe Lee
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.869211 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Individual part. With Sambinha ...
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Cello Solo - Level 4 - SKU: A0.869211 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Individual part. With Sambinha bachiana ... III. 36 pages. Thomas Oboe Lee #30911. Published by Thomas Oboe Lee (A0.869211). Program note: Canções e Sambinhas is the third of a triptych of compositions written for my friend, the enormously gifted cellist, Andrés DÃaz. The first was Eurydice, a tone poem on the Orpheus myth for cello and orchestra, and the second was La Chimera Fantastica for the DÃaz Trio. Canções e Sambinhas is in four movements. I. Canção de amor ... II. Sambinha bachiana ... III. Valsa lenta ... IV. Mais uma vêz ... Having lived in Brazil during my teen-age years, I inevitably continue to return to the wonderful music of that country for inspiration: the chôros of Ernesto Nazareth, Jacob do Bandolim, Pixinginha, and Heitor Villa-Lobos. The first movement begins with a slow, dark introduction before the love song emerges .... The second movement is a lively samba. As the title indicates, it is a little samba infused with Bach-like counterpoint, although a bit crazier. Villa-Lobos might find this amusing .... The third movement is a slow meditation for the cello on a passacaglia-like theme in the piano. The last movement, Mais uma vêz (meaning One Mo' Time in English), is a samba like the second movement, but it is set more homophonically, more dance-like in character .... The work is dedicated to my wife, Kris, who is an inspiration to my life and work.Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/can-es-e-sambinhas-1996-for-cello-and-pianoVideo link: https://youtu.be/X2gFRiypqTA
$9.99
Suite for Solo Cello all parts
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Robert Kuehn
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Suite for Solo Cello all parts
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Robert Kuehn
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.1026428 Composed by Robert Kuehn. Baroque,Classical,Romantic Period. Individual part. 8 pages. Robert Kuehn #6100277. Pub...
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Cello Solo - Level 4 - SKU: A0.1026428 Composed by Robert Kuehn. Baroque,Classical,Romantic Period. Individual part. 8 pages. Robert Kuehn #6100277. Published by Robert Kuehn (A0.1026428). A suite for the intermediate player, that contains elements of classical, romantic and baroque genres. Tempos are recommended guidance only- they work at any number of tempos (except for the allegro in movement 2). Otherwise, play them as you feel them. Movement 1 is really a set of variations on the main theme in D minor. It explores a moderate range of keys and rhythms. Movement 2 starts with an adagio that can be played quite freely, ascending from Cmaj up thru various keys, leading to an allegro/presto dance-like piano theme in Dmaj. Much room for tempo/dynamics interpretation then ending with a brief restatement of the adagio theme in a new key, followed by a mad rush up the cello to a high, quiet E, with small sighs to end the piece. Movements 3, 4 and 5 would be good performance pieces for students (melodically solid with multiple harmonic shifts, moderate bowing and fingering challenges and engaging rhythms).
$8.00
A Semita in Umbra
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Violoncelle
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AVANCÉ
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Mena Williams
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A Semita in Umbra
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Mena C. Williams
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SheetMusicPlus
Cello Solo - Level 5 - SKU: A0.1256030 Composed by Mena Williams. 21st Century,Classical. Individual part. 4 pages. Mena C. Williams #849498. Published ...
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Cello Solo - Level 5 - SKU: A0.1256030 Composed by Mena Williams. 21st Century,Classical. Individual part. 4 pages. Mena C. Williams #849498. Published by Mena C. Williams (A0.1256030). Duration: 00:03:01A Semita in Umbra is Latin for A Shadow's Path. When listening to this piece I imagine how a  shadow traipse behind it's person; and how it'll disappear in an instant when the light has gone. This piece make me think of Peter Pan's shadow specifcally trying to remove himself from the boy,  and tip toe away into the night. Although the audience may think that Peter Pan's shadow should have a more light-hearted tune. I think the opposite, I like to think of it has more of a lament; Peter Pan's  shadow has tried countless times to escape and has never succeeded. The shadow  has lost count of how many times he's tried to set himself free, and is rapidly losing hope.  All he can do for some resemblance of freedom is fade away when light is no longer around.
$2.50
Missa Pro Defunctis (2018) cello part
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Violoncelle
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Contemporain
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Thomas Oboe Lee
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Missa Pro Defunctis
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Thomas Oboe Lee
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SheetMusicPlus
Cello Solo - SKU: A0.869580 Composed by Thomas Oboe Lee. Contemporary. Individual part. 15 pages. Thomas Oboe Lee #3583395. Published by Thomas Oboe Lee...
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Cello Solo - SKU: A0.869580 Composed by Thomas Oboe Lee. Contemporary. Individual part. 15 pages. Thomas Oboe Lee #3583395. Published by Thomas Oboe Lee (A0.869580). The inspiration for my Missa Pro Defunctis (2018) was Fauré's Requiem in which he ignored the fire and brimstone text of the Dies irae and Tuba mirum in the Sequence of the Requiem Mass. And consequently he created a work that is peaceful, tranquil and uplifting. I'd like to think of death in that way.So, I proceeded by taking the exact text that Fauré used in his work, and instead of a large chorus and full orchestra I decided to do a chamber version. It is scored for SATB (single voices), flute, clarinet, string quartet, double bass and harp.The movements, as in the Fauré, are:1. Introit and Requiem2. Offertory3. Santus 4. Pie Jesu5. Agnus Dei6. Libera me7. In paradisumThe entire work has a duration of ca. 27 minutes.Missa Pro Defunctis (2018) is dedicated to the residents in the Protestant Cemetery in Rome.
$1.99
Seres Imaginários 7 (for Violoncello Solo)
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Luis Cardoso
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Seres Imaginários 7
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Luis Cardoso
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.934368 Composed by Luis Cardoso. Contemporary. Individual part. 14 pages. Luis Cardoso #6167325. Published by Luis Cardos...
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Cello Solo - Level 4 - SKU: A0.934368 Composed by Luis Cardoso. Contemporary. Individual part. 14 pages. Luis Cardoso #6167325. Published by Luis Cardoso (A0.934368). Seres Imaginários 7 (Imaginary Baings 7) follows the cycle of compositions about fantastic creatures started in 2012. Each movement is an imaginary being: Insonho is a witch of nightmares, that covers the mouth of the sleeper, but as it has a pierced hand, not stifles breathing. Uses a hoody and who manages to steal him can ask for money in exchange for his return; Alicanto is a bird with bright eyes and wings, whose flight does not project shadows. It feeds on precious minerals and help the miders to find them, since he did not see them. If he sees them, leads them to a cliff; Peeira is a keeper fairy wolves, that communicates and controls the packs.The composition, like previous compositions of the same cycle, integrates modal languages, modulating them freely and intersecting them with alternative sounds.
$20.00
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