Page d'accueil
Parcourir Free-scores.com
--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
ALMOST MEANT TO BE
Non classifié
4
Piano & claviers
Piano seul
3
Piano, Voix
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Facile
1
Guitares
Guitare
1
Voix
Chorale SATB
3
Voix Tenor, Piano
1
Voix Baryton, Piano
1
Vents
Quatuor de Saxophones: 4 saxophones
2
Cuivres
Cordes
Violon
1
Violon et Piano
1
Orchestre & Percussions
Orchestre de chambre
1
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
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
68
Partitions Numériques
21
Librairie Musicale
42
Matériel de Musique
1
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
ALMOST MEANT TO BE
Partitions à imprimer
21 partitions trouvées
<
1
ALMOST MEANT TO BE
#
Piano seul
#
AVANCÉ
#
New Age
#
Mark William Manning
#
ALMOST MEANT TO BE
#
faucetmusic
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.946019 Composed by Mark William Manning. New Age. Score. 8 pages. Faucetmusic #6704303. Published by faucetmusic (A0.9460...
(+)
Piano Solo - Level 5 - SKU: A0.946019 Composed by Mark William Manning. New Age. Score. 8 pages. Faucetmusic #6704303. Published by faucetmusic (A0.946019). A beautiful solo piano piece that is gently reflective and moving on a variety of emotional levels and dealing with loss while striving to be optimistic. A wonderful piece for the advanced to later intermediate pianist.
$4.99
Let There Be Peace On Earth
#
Piano seul
#
FACILE
#
Jill Jackson and Sy Miller
#
Thomas Gunther
#
Let There Be Peace On Earth
#
Thomas Gunther Music Productions
#
SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1311927 Composed by Jill Jackson and Sy Miller. Arranged by Thomas Gunther. Christmas,Holiday,Spiritual. Score. 4 pages. ...
(+)
Piano Solo - Level 2 - SKU: A0.1311927 Composed by Jill Jackson and Sy Miller. Arranged by Thomas Gunther. Christmas,Holiday,Spiritual. Score. 4 pages. Thomas Gunther Music Productions #900801. Published by Thomas Gunther Music Productions (A0.1311927). About the song and the arrangementThis is my solo piano arrangement of Let There Be Peace On Earth, one of the most powerful songs about peace ever written. I arranged it with the intermediate piano player in mind. Although is not particularly jazzy, it includes some jazz harmony and voicings. I think its beautiful melody benefits from clean voicings and an almost classical accompaniment style. Having said that, I included chord symbols so that jazz pianists can do their thing.I recommend to everyone who wants to learn it to also study the lyrics (who I didn't include with the sheet music, because it is after all a solo piano arrangement. Knowing the words will undoubtedly help with interpreting the music more adequately from an emotional point of view.About the technical aspects of this arrangementAlthough the arrangement sounds simple,  it poses several challenges. For example, it has a polyphonic element to it which requires the pianist to use the sustain pedal and make smart fingering choices. For this reason I included my suggestions for both. Please feel free to use your own.FeelThe arrangement is meant to be played very expressively. I suggest you vary the tempo and dynamics. Bringing out the melody is also very important.At last, I hope you will enjoy playing my arrangement and consider including it in your recitals. The call for peace is never a waste.
$7.00
The Jesus Prayer
#
Piano, Voix
#
FACILE
#
Musique Sacrée
#
Patrick G
#
The Jesus Prayer
#
Patrick G. Daniel
#
SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1352080 Composed by Patrick G. Daniel. Christian,Religious,Sacred. Score. 1 pages. Patrick G. Daniel #936909. Publ...
(+)
Piano,Vocal,Voice - Level 2 - SKU: A0.1352080 Composed by Patrick G. Daniel. Christian,Religious,Sacred. Score. 1 pages. Patrick G. Daniel #936909. Published by Patrick G. Daniel (A0.1352080). This is a short round meant to be a prayful mantra. It's a simple arrangement for melody, descant and keyboard. It serves as a thoughtful Communion meditation. And while it is meant as a Communion meditation but can be used as a meditative piece in almost any service or event.
$1.99
Spits
#
Chorale SATB
#
Pop musique
#
Stuart Murray
#
Craig Cassils
#
Spits
#
Craig Cassils
#
SheetMusicPlus
Choral Choir (Mixed) - SKU: A0.912365 Composed by Stuart Murray. Arranged by Craig Cassils. Pop. Octavo. 7 pages. Craig Cassils #2031853. Published by C...
(+)
Choral Choir (Mixed) - SKU: A0.912365 Composed by Stuart Murray. Arranged by Craig Cassils. Pop. Octavo. 7 pages. Craig Cassils #2031853. Published by Craig Cassils (A0.912365). This is a silly love song about someone who loves sunflower seeds (spits) almost as much the person he or she is with. The song is fun and easy to sing in a light swing style. The refrain is meant to be sung faster, adding to the variety within the song. This could be a good song as a solo or for a unison choir.
$4.99
Thirteen
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Musique Sacrée
#
Robert Myers
#
Thirteen
#
WheatMyer Music
#
SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.976729 Composed by Robert Myers. Christian,Contemporary,Sacred. Octavo. 43 pages. WheatMyer Music #5317821. Publ...
(+)
Choral Choir (SATB) - Level 4 - SKU: A0.976729 Composed by Robert Myers. Christian,Contemporary,Sacred. Octavo. 43 pages. WheatMyer Music #5317821. Published by WheatMyer Music (A0.976729). There are 150 psalms in the Bible, each one originally meant to be sung; and so they were for most of the last 3,000 years, beginning at the Jerusalem Temple. They were adopted as the primary song text of the early church as evidenced by Col. 3:16 and maintained in the Western church throughout medieval times. Psalms were the featured texts of most of the Reformers and were the sole mode of sacred singing among the first American settlers. Of late, hymns and choruses and popular songs with human texts have almost entirely replaced the singing of God’s word in many churches. This scarcity of Psalms in the Church’s song is a great loss which frequently motivates me to promote their increase. Thus, THIRTEEN , one member of my first suite of new Psalm settings, is offered as a to help bring the Psalms back into modern worship. The thirteenth Psalm holds a complaint, a petition, and a confession of faith and the music of THIRTEEN portrays each with text painting appropriate to the psalmist's words. A staggering timpani ostinato buffets away beneath the choir's tripartite how long complaint, followed by a dissonant recitative petition which transitions through shimmering tonal clusters into a joyful, major-key, confession of faith blended with a NT perspective from Eph. 3:20-21. THIRTEEN is challenging music, both in music and message, but for the adventurous music department it provides the opportunity to plumb the depths of scripture with artistry worthy of the rich heritage of Psalmody to use music to express the full message of God’s revelation. THIRTEEN is fitting to program liturgically as a musical exposition of the Psalm or in a sacred or secular concert setting. The very light orchestration complements the vocal performance with rich instrumental color without overwhelming the voices.
$55.00
Prelude
#
Piano seul
#
FACILE
#
Vaggelis Xatzimanolakis
#
Prelude
#
Vaggelis Xatzimanolakis
#
SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1400559 Composed by Vaggelis Xatzimanolakis (E.M.Xatz). 21st Century. Score. 2 pages. Vaggelis Xatzimanolakis #983755. Pu...
(+)
Piano Solo - Level 2 - SKU: A0.1400559 Composed by Vaggelis Xatzimanolakis (E.M.Xatz). 21st Century. Score. 2 pages. Vaggelis Xatzimanolakis #983755. Published by Vaggelis Xatzimanolakis (A0.1400559). Hello everyone, this little piece of mine has been sitting idle in a corner for almost a year, it was the second composed piece of mine, composed during a time when I was starting to learn how to use the various music notation programs. Anyway, this piece of mine is obviously very experimental with a very loose structure, it was meant to be performed by people of the intermediate level of mastery and above, but with enough patience and time I believe that anyone can manage it without any issue. So, have fun!
$4.00
TWELVE
#
Chorale SATB
#
AVANCÉ
#
Musique Sacrée
#
Robert Myers
#
TWELVE
#
WheatMyer Music
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.976724 Composed by Robert Myers. Christian,Contemporary,Jewish,Sacred. Octavo. 37 pages. WheatMyer Music #502197...
(+)
Choral Choir (SATB) - Level 5 - SKU: A0.976724 Composed by Robert Myers. Christian,Contemporary,Jewish,Sacred. Octavo. 37 pages. WheatMyer Music #5021979. Published by WheatMyer Music (A0.976724). There are 150 psalms in the Bible, each one originally meant to be sung; and so they were for most of the last 3,000 years, beginning at the Jerusalem Temple. They were adopted as the primary song text of the early church as evidenced by Col. 3:16 and maintained in the Western church throughout medieval times. Psalms were the featured texts of most of the Reformers and were the sole mode of sacred singing among the first American settlers. Of late, hymns and choruses and popular songs with human texts have almost entirely replaced the singing of God’s word in many churches. This scarcity of Psalms in the Church’s song is a great loss which frequently compels me to do what I can to promote their increase.
$65.00
Quasi una Mazurka (version for violin and piano)
#
Violon et Piano
#
INTERMÉDIAIRE/AVANCÉ
#
Stefano Olcese
#
Quasi una Mazurka
#
Stefano Olcese
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Violin - Level 4 - SKU: A0.934328 Composed by Stefano Olcese. 20th Century,Concert,Contemporary,Film/TV. Score...
(+)
Instrumental Duet Instrumental Duet,Piano,Violin - Level 4 - SKU: A0.934328 Composed by Stefano Olcese. 20th Century,Concert,Contemporary,Film/TV. Score and parts. 6 pages. Stefano Olcese #3238023. Published by Stefano Olcese (A0.934328). Quasi una Mazurka in Italian means Almost a Mazurka. So yes, there's certainly a mazurka feeling in this piece, but also some polonaise and a kick of Italian violin music tradition.I composed this music in 2013 for piano solo and in F minor. But then I met a fantastic violinist and, getting friend with him, I took the initiative to arrange for violin and piano and transpose it a half step down. I like it better in this new version! And I believe that this melody was, since the very beginning, meant to be a violin melody.I can send you separate parts upon request with no extra charge.
$4.99
Quartet For The End Of Tyranny
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Bob Atwell
#
Quartet For The End Of Tyranny
#
Bob Atwell Music
#
SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.980536 Composed by Bob Atwell. 20th Century,Conte...
(+)
Small Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.980536 Composed by Bob Atwell. 20th Century,Contemporary. Score and parts. 72 pages. Bob Atwell Music #6857323. Published by Bob Atwell Music (A0.980536). This quartet is meant to be played by almost any combination of 4 instruments with the appropriate ranges. It is, of course, a political statement of anger and frustration at a world plagued by dictators and despots (or wannabes) who would deprive people of their freedoms and rights for purely tyrannical reasons
$10.00
Carnival of the Animals: Tortoise (Easy Piano)
#
Piano Facile
#
DÉBUTANT
#
Classique
#
Camille Saint-Saens
#
TEC Music
#
Carnival of the Animals: Torto
#
TEC Music
#
SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.876107 Composed by Camille Saint-Saens. Arranged by TEC Music. 20th Century,Children,Classical,Romantic Period,World. Sco...
(+)
Easy Piano - Level 1 - SKU: A0.876107 Composed by Camille Saint-Saens. Arranged by TEC Music. 20th Century,Children,Classical,Romantic Period,World. Score. 1 pages. TEC Music #3565615. Published by TEC Music (A0.876107). This easy tune is from the well-known and loved Carnival of the Animals. It is meant to be played very slow, at an almost annoying tempo, and is perfect for early piano students. Search for other animals (and more music) from TEC Music.
$1.99
Nocturne for Clarinet, Violin, Cello & Piano
#
Piano Quatuor: piano, violon, alto, violoncelle
#
AVANCÉ
#
Eugene Astapov
#
Nocturne for Clarinet, Violin,
#
EAMUSIC
#
SheetMusicPlus
Piano Quartet Cello,Piano,Violin - Level 5 - SKU: A0.1283409 Composed by Eugene Astapov. 21st Century,Chamber,Contemporary. 19 pages. EAMUSIC #874594. P...
(+)
Piano Quartet Cello,Piano,Violin - Level 5 - SKU: A0.1283409 Composed by Eugene Astapov. 21st Century,Chamber,Contemporary. 19 pages. EAMUSIC #874594. Published by EAMUSIC (A0.1283409). Nocturne was inspired by a meteorological phenomenon that is known as “noctilucence†and refers to shining clouds at high altitudes only observable for a short period of time in the summer twilight sky. In Canada we don’t get many summer days, that is why this occurrence is particularly special and beautiful. From the first measures the music evokes the feelings of tranquility and ephemeral elegance. Structurally this piece is almost built after some of Chopin’s Nocturnes which were written in 3-part form and often featured emotional and moving musical material towards the end of the piece. Even though nocturnes are generally meant to depict peaceful night music and my piece certainly opens that way, it does not stay calm and quiet for the duration of the piece because the night, after all, can be full of surprises and mysteries. The music is meant to be played with flair and colour, in a light and improvisatory way. This piece was first premiered at the Intimacy of Creativity Festival in Hong Kong in May 2019 with the assistance from Bright Sheng. Following the Audience Choice vote at the festival, and further revised, the piece was brought to the audiences in Philadelphia at the Curtis Institute of Music featuring musicians from the Curtis 20/21 Ensemble in December 2019.The piece is scored for Clarinet, Violin, Cello and Piano. Duration is approximately 9 minutes.
$20.00
Requiem
#
Orchestre de chambre
#
Harald Weiss
#
Requiem
#
Schott Music - Digital
#
SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
(+)
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
Ungaresca & Almande Poussinghe (Recueil de Danseries, 1583)
#
Renaissance
#
Pierre Phalèse Jnr
#
Colin Kirkpatrick
#
Ungaresca & Almande Poussi
#
Colin Kirkpatrick Publications
#
SheetMusicPlus
String Ensemble - Level 2 - SKU: A0.1041170 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 18 pages. Co...
(+)
String Ensemble - Level 2 - SKU: A0.1041170 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 18 pages. Colin Kirkpatrick Publications #645901. Published by Colin Kirkpatrick Publications (A0.1041170). These two dances are taken from a collection entitled Recueil de danseries, contenant presque toutes sortes de danses (“Collection of dances, containing almost every kind of dancesâ€) published in Antwerp in 1583 by Pierre Phalèse Jnr (c.1545-1629). He was continuing the work of his father Pierre Phalèse the Elder (1510-1575) the most important publisher in the Low Countries during the 16th century. The piece known as Ungaresca evokes the atmosphere of street music rather than that of the court and the drone accompaniment that Phalèse provides suggests the sound of the peasant bagpipes. As the name implies, the dance came from Hungary though it may have simply been a dance in the Hungarian style. Even so, the melody was tremendously popular during the fifteenth century though the author is unknown. The dance calls for a lively performance, and you can use plenty of percussion to enliven it. This music was meant for dancing and entertainment and musicians would often combine several dances to make a more substantial piece. In this arrangement, the rather wild Ungaresca is paired with the stately Almande Poussinghe. The music would have been played by any instruments that happened to be available. The dances still retain their freshness and charm today and are sure to be popular at any concerts, public recitals or end-of-semester events. This arrangement is for virtually any string ensemble and the single PDF file includes a full score and parts for violin 1, violin 2, viola (violin 3), cello and bass (combined), keyboard and simple percussion. Two additional melody part are provided in the treble and bass clefs and the chords (for optional guitar) are shown in both keyboard and cello-bass parts. In the spirit of the original publication, you can add to the melody line any other C-pitch instruments that happen to be available. Even the additional of a couple of recorders will enhance the sound. Alternatively, you can do opposite and create a pleasing contrast by omitting various instruments for certain sections. The audio demo will give you an idea how this might be achieved. The keyboard part is intended as a guide and when possible, the keyboard player should feel free to improvise around the part and the chords shown. A digital or acoustic harpsichord sounds more authentic than a piano. Most electronic keyboards have a harpsichord option. The optional percussion instruments used are similar to those found in elementary school music rooms and usually include a tambour or hand-held drum, antique (finger) cymbals, wood-blocks and tambourine. Two or three players can be used (but feel free to add more) and the parts can be interpreted quite freely. Dance music is intended to be fun, and we hope that this arrangement brings you just that.
$9.99
Schiarazula Marazula & Ballo Anglese (1583)
#
Renaissance
#
Pierre Phalèse Jnr
#
Colin Kirkpatrick
#
Schiarazula Marazula & Bal
#
Colin Kirkpatrick Publications
#
SheetMusicPlus
String Ensemble - Level 2 - SKU: A0.1039005 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 17 pages. Co...
(+)
String Ensemble - Level 2 - SKU: A0.1039005 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 17 pages. Colin Kirkpatrick Publications #644005. Published by Colin Kirkpatrick Publications (A0.1039005). These two dances are taken from a collection entitled Recueil de danseries, contenant presque toutes sortes de danses (“Collection of dances, containing almost every kind of danceâ€) published in Antwerp in 1583 by Pierre Phalèse Jnr (c.1545-1629). He was continuing the work of his father Pierre Phalèse the Elder (1510-1575) the most important publisher in the Low Countries during the 16th century. The piece known as Schiarazula Marazula appears towards the end of the collection and is rather a curious addition because it evokes the sound of street music rather than that of the court. However, it was an immensely popular dance during the 16th century and possibly written by Giorgio Mainerio, an Italian musician and composer. This music was meant for dancing and entertainment and musicians would often combine several dances to make a more substantial piece. In this arrangement, Schiarazula Marazula is paired with Ballo Anglese which appears near the beginning of the original publication. The music would have been played by any instruments that happened to be available. The dances still retain their freshness and charm today and are sure to be popular at any concerts, public recitals or end-of-semester events. This arrangement is for virtually any string ensemble and the single PDF file includes a full score and parts for violin 1, violin 2, viola (violin 3), cello and bass (combined), keyboard and simple percussion. Two additional melody part are provided in the treble and bass clefs and the chords (for optional guitar) are shown in both keyboard and cello-bass parts. In the spirit of the original publication, you can add to the melody line any other C-pitch instruments that happen to be available. Even the additional of a couple of recorders will enhance the sound. Alternatively, you can do opposite and create a pleasing contrast by omitting various instruments for certain sections. The audio demo will give you an idea how this might be achieved. The keyboard part is intended as a guide and when possible, the keyboard player should feel free to improvise around the part and the chords shown. A digital or acoustic harpsichord sounds more authentic than a piano. Most electronic keyboards have a harpsichord option. The optional percussion instruments used are similar to those found in elementary school music rooms and usually include a tambour or hand-held drum, antique (finger) cymbals, wood-blocks and tambourine. Two or three players can be used (but feel free to add more) and the parts can be interpreted quite freely. Dance music is intended to be fun, and we hope that this arrangement brings you just that.
$8.99
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
#
Classique
#
Classique
#
Wolfgang Amadeus Mozart
#
Nicole Elyse DiPaolo
#
Ah, scostati!...Smanie implaca
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pa...
(+)
Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.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 additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.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
What A Wonderful World
#
Guitare
#
INTERMÉDIAIRE
#
Louis Armstrong
#
Richard Hirsch
#
and 3&
#
What A Wonderful World
#
Richard Hirsch
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural...
(+)
Solo Guitar - Level 3 - SKU: A0.1155054 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Richard Hirsch. 20th Century,Multicultural,Pop,Standards,World. Individual part. 8 pages. Richard Hirsch #755336. Published by Richard Hirsch (A0.1155054). Taking inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement in polyrhythmic 4/4 time of What a Wonderful World for solo acoustic guitar. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The tune is really happy and up-lifting. If there are any little folks (kids two to four years old) around listening, they will have a hard time sitting still. My grandson (two and a half) really got going when I played it for him. I can hardly resist the urge to dance to the tune while playing myself! The arrangement is in the spirit of the Canarios by Gaspar Sanz for classical guitar and is meant to have the nature of a dance. The repetitive alternating thumb and index and middle finger cycle going through the broken chords with the melody woven in works to give the arrangement an almost hypnotic character. The fingering for the right hand is given in first section and is basically the same throughout the piece. The fingering for the left hand can, I believe, be easily figured out from the tablature. The arrangement is within the reach of intermediate students of the acoustic guitar; anyone who has mastered the basics of fingerstyle fingerpicking guitar, and can be played on both nylon and steel string acoustic guitars. The short and long glissandos and the arpeggios of natural harmonics resembling the kalimba (thumb harp) together with the drone effects of the enharmonic tones in the chords give an added dash of African spice to the piece.
$4.99
Bb Duet with Brass Band - Tambourin
#
Classique
#
Francois-Joseph Gossec
#
Mike Lyons
#
Bb Duet with Brass Band - Tamb
#
Lyons Music Services
#
SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
(+)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.767560 Composed by Francois-Joseph Gossec. Arranged by Mike Lyons. Classical,Romantic Period. Brass Band. 34 pages. Lyons Music Services #5989257. Published by Lyons Music Services (A0.767560). Tambourin, in this arrangement has had a rather chequered career! I originally meant it to be for a single soloist - but where's the fun in that? Then I thought 2 cornets but eventually worked out that it worked really well on almost any combination of Bb soloists as it is a conversation between the two parts.The band parts are strictly accompanimental and need to be one on a part most of the way through.
$25.00
Three Movements for Solo Violin
#
Violon
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
James Watson
#
Three Movements for Solo Violi
#
James Watson
#
SheetMusicPlus
Violin Solo - Level 4 - SKU: A0.923945 Composed by James Watson. 20th Century. 6 pages. James Watson #3046553. Published by James Watson (A0.923945).
(+)
Violin Solo - Level 4 - SKU: A0.923945 Composed by James Watson. 20th Century. 6 pages. James Watson #3046553. Published by James Watson (A0.923945). This is a three movement pantonal work for unaccompanied solo violin. Each movement has it's own personality and character. The first begins freely and expressively in the beginning and builds momentum to a somewhat sporadic series of various motivic manipulations, ending in an aggressive, accelerating repetition of the motif, which can be heard in various places of the following two movements. The second movement, somewhat more quirky, is meant to provoke a sense of temporary confusion and disorientation. The pizzicato open G in the first few measures is the disorienting element, interrupting the melody every few beats. The rest of the piece gradually becomes more and more playful before slowing down as if unsure what lies ahead.The third movement is the shortest of the three. It begins very eerily and slightly chilling with a downward glissando on artificial and natural harmonics. It almost seems as if a character in a story is lost in an unfamiliar place, trying to find the way home. As the movement progresses, it builds in expression and intensity the way a light in the distance becomes closer as one walks closer to it. From this climax, to the end, it becomes gradually softer and slower, mimicking the burning embers of a dying fire, reminiscing of warmth and comfort.
$10.00
Fire In My Soul Tenor Voice and Piano -- E-flat minor
#
Voix Tenor, Piano
#
INTERMÉDIAIRE
#
Cody Weinmann
#
Fire In My Soul Tenor Voice an
#
Cody Weinmann
#
SheetMusicPlus
Tenor Voice,Vocal Solo - Level 3 - SKU: A0.835115 Composed by Cody Weinmann. Contemporary,Rock. 12 pages. Cody Weinmann #4719753. Published by Cody Wein...
(+)
Tenor Voice,Vocal Solo - Level 3 - SKU: A0.835115 Composed by Cody Weinmann. Contemporary,Rock. 12 pages. Cody Weinmann #4719753. Published by Cody Weinmann (A0.835115). This song was originally composed in 2008. It was largely based out of depression. I felt like I was going nowhere. So, I wrote this in all my angst and sadness. The song is meant to have almost a happy ending in the second chorus as the singer clings to hope in Jesus. Little did I know that six years later, I would be transformed by a relationship with Christ, the Savior Himself.I hope this song could bring comfort to all those who mourn and are down. This piece is a good onefor somber events of all types, especially funerals. The piece's run time is about 4 minutes and 13 seconds in length. As for playing it, it is intermediate level piano playing. This is a special version of the song written and arranged for tenor solo voice and piano.We all have this fire in our souls that compels us to do well. Let's do it!
$5.99
Fire In My Soul-- In E-flat 1st Version
#
Voix Baryton, Piano
#
INTERMÉDIAIRE
#
Cody Weinmann
#
Fire In My Soul-- In E-flat 1s
#
Cody Weinmann
#
SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 3 - SKU: A0.835113 Composed by Cody Weinmann. Contemporary,Folk. 12 pages. Cody Weinmann #4640627. Published b...
(+)
Baritone Horn TC,Vocal Solo,Voice - Level 3 - SKU: A0.835113 Composed by Cody Weinmann. Contemporary,Folk. 12 pages. Cody Weinmann #4640627. Published by Cody Weinmann (A0.835113). This song was originally composed in 2008. It was largely based out of depression. I felt like I was going nowhere. So, I wrote this in all my angst and sadness. The song is meant to have almost a happy ending in the second chorus as the singer clings to hope in Jesus. Little did I know that six years later, I would be transformed by a relationship with Christ, the Savior Himself.I hope this song could bring comfort to all those who mourn and are down.
$4.99
The Parodic Scaramouche
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Logan Moore
#
The Parodic Scaramouche
#
Logan Moore
#
SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.973437 Composed by Logan Moo...
(+)
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.973437 Composed by Logan Moore. 20th Century,Contemporary. 31 pages. Logan Moore #6674517. Published by Logan Moore (A0.973437). A bit of a circus piece, this piece is meant to depict the scene of an abandoned amusement park, haunted by a scary clown. Many of the melodies appear to be almost tonal, but are often subverted by chromatic parts/countermelodies. This piece brings atonality to (hopefully) a place where the audience will understand what the odd melodies should make them feel.Run time ~ 3.5 min.
$15.00
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
ALMOST MEANT TO BE
