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Vous avez sélectionné:
And Then I Found Myself
Partitions à imprimer
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And Then I Found Myself
Clarinette
Clarinet Solo - Level 5 - Digital Download SKU: A0.1029266 Composed by Eric Salazar…
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Clarinet Solo - Level 5 - Digital Download SKU: A0.1029266 Composed by Eric Salazar. 20th Century,Contemporary. Individual part. 4 pages. Eric Joel Salazar #4844767. Published by Eric Joel Salazar (A0.1029266). AND THEN I FOUND MYSELFA ROCKING PIECE FOR CLARINET AND LOOPSTATIONAnd Then I Found Myself is a loosely structured piece for clarinet + loopstation (or loop pedal). This eight minute work is a great addition to the repertoire of a professional who is well equipped to perform with electronics, or has an aspiration to perform with electronics. The score comes with a diagram and instructions on how to operate a loopstation or loop pedal, making it ideal for that first experience performing with a looper.And Then I Found Myself will allow anyone to perform a compelling melody, with a slight feel of improvisation, all while accompanying oneself with an in-the-moment creation of a recording. Unlike some of my other works for clarinet + electronics where the media is fixed, the electronics in And Then I Found Myself are created right there during the performance - which offers the audience a unique perspective as the performer builds the piece right in front of them.
$10.00
9.33 €
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Clarinette
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Eric Salazar
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And Then I Found Myself
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Eric Joel Salazar
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SheetMusicPlus
Alto Sax - "And Can It Be?" Theme and Variations
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,â Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Brayâs sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Brayâs sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesleyâs Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E
$7.00
6.53 €
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Saxophone Alto et Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Alto Sax - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Mandolin Chord Melody System
Mandoline
Composed by Aaron Weinstein. Jazz, Improvising. Ebook. 53 pages. Published by Mel Bay Pub…
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Composed by Aaron Weinstein. Jazz, Improvising. Ebook. 53 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.30502EB). - Ebook - Jazz, Improvising - Mel Bay Publications - Digital Sheet Music
ISBN 9781619115453. 8.75 x 11.75 inches. If you've heard jazz guitarists like Joe Pass play chord melody, you may think that the style requires an encyclopedic knowledge of music theory, musical super-powers, or making a deal with the devil. But fear not! This book will show you how to create your own satisfying chord melody arrangements on the mandolin...and will do so in a practical, applicable, non stroke-inducing way. "Aaron Weinstein has many musical accomplishments. I am very proud to have played a small part with some of them. When he was only 12 he made his first recordings and asked me to play mandolin on them. I was knocked out to encounter someone that young that was conversant in both old-time or contest fiddling and Joe Venuti style jazz. Not long after that Aaron became interested in the mandolin and chords and he came by every so often to play and discuss voicings, improvisation and the like. I showed him some of the Jethro Burns chord melody arrangements that Jethro showed me. I've been teaching those for decades in hopes of one day playing them smoothly myself! Fast forward a few more years and Aaron has a Berklee degree, traveled the world playing hot violin music and is hobnobbing with the greatest NYC jazz stars. And oh yeah, one other thing: he took the art of chord-melody mandolin style to an entirely new level! The rich harmonies of the standard jazz and show tune repertoire, the swinging bass lines and connecting chords and independent voice movements (doing more than one thing at a time) are all present in Aaron's style, thanks to his great ear, open mind and gift at locating things on the fretboard. And now Aaron has documented, explained and shared his discoveries and approach with all of us in this book. Thank you Aaron! This is truly a step-by-step method that you will enjoy. You'll find yourself saying 'oh, of course!' as the author gets you playing and understanding things that sound very detailed and complex. The first section I would call the mandolinistic stuff: the how-to on getting things moving and connected on the fretboard. This part is laid out in a very logical manner with clear explanations and fun activities. After working through these etudes you will know the fretboard better and be a better mandolin playing musician regardless of what style of music is your favorite. As I looked this part over I recalled the parable about 'give someone a fish and he will have a meal. Teach him to fish and he'll eat the rest of his life..' The second part puts your new-found chops to work playing some great solo chord melody tunes Weinstein style. Again the author walks us gently into the material by providing two versions of each piece, the basic structure followed by a more developed version. In the history of mandolin playing there have been many examples of techniques, arrangements and music that might be thought of as 'chord-melody' style. Consider works by Raffaele Calace, or 'Duo' style from the early twentieth century American stylists and then again as modernized by Evan Marshall in the current era. Bach on the mandolin, as played by virtuosi such as Caterina Lichtenberg, Mike Marshall, Carlo Aonzo, Chris Thile and others also illustrates harmony and melody simultaneously. And of course Jethro Burns did so much in the way of bringing jazz and standards to life with chord-melody mandolin that it is often referred to as 'Jethro Style'. The book you have in your hand presents a unique and accessible route to these types of techniques and sounds. Bravo, Aaron! And thank you, my friend." Don Stiernberg.
$14.99
13.98 €
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Mandoline
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Aaron Weinstein
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Mandolin Chord Melody System
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Cello - "And Can It Be?" Theme and Variations
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles…
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Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,â Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Brayâs sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Brayâs sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesleyâs Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
5.6 €
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Violoncelle, Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Cello - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Tuba solo - "And Can It Be?" Theme and Variations
Tuba
Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles …
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Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Easter,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4285469. Published by Dan Cutchen Music (A0.844352). This arrangement of And Can It Be That I Should Gain? is for tuba solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Tuba - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00To contact Dan Cutchen, go to:Facebook: https://www.facebook.com/merry1722/dancutchen.com: http://www.dancutchen.com/contactAnd Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,â Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Brayâs sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Brayâs sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesleyâs Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/7-Qdg7QK.
$6.00
5.6 €
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Tuba
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Tuba solo - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
In the Sweet By and By hymn for string trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Digital Download SKU: A0.749761 Arranged by SMT Music…
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String Ensemble,String Trio - Digital Download SKU: A0.749761 Arranged by SMT Music. Christian,Folk,Holiday,Patriotic,Sacred,Standards. Score and parts. 10 pages. SMT Music #6286217. Published by SMT Music (A0.749761). (published in 1868) Mr. Webster, like many musicians, was of an exceedingly nervous and sensitive nature, and subject to periods of depression, in which he looked upon the dark side of all things in life. I had learned his peculiarities so well that on meeting him I could tell at a glance if he was melancholy, and had found that I could rouse him up by giving him a new song to work on. He came into my place of business [in Elkhorn, Wisconsin], walked down to the stove, and turned his back on me without speaking. I was at my desk. Turning to him, I said, Webster, what is the matter now? It's no matter, he replied, it will be all right by and by. The idea of the hymn came me like a flash of sunlight, and I replied, The Sweet By and By! Why would not that make a good hymn? Maybe it would, he said indifferently. Turning to my desk I penned the words of the hymn as fast as I could write. I handed the words to Webster. As he read his eyes kindled, and stepping to the desk he began writing the notes. Taking his violin, he played the melody and then jotted down the notes of the chorus. It was not over thirty minutes from the time I took my pen to write the words before two friends with Webster and myself were singing the hymn.-Sanford Fillmore Bennett (1836-1898)[2].
$12.99
12.12 €
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Trio à Cordes: violon, alto, violoncelle
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and By! Why would not that make a good hymn? Maybe it would, he said indifferently
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SMT Music
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In the Sweet By and By hymn for string trio
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SMT Music
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SheetMusicPlus
Two Rivers for mezzo-soprano, flute, clarinet, violin, cello and piano
Small Ensemble Cello,Clarinet,Flute,Low Voice,Piano Accompaniment,Violin - Level 5 - Digit…
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Small Ensemble Cello,Clarinet,Flute,Low Voice,Piano Accompaniment,Violin - Level 5 - Digital Download SKU: A0.886683 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 52 pages. Panagiotis Theodossiou #3213757. Published by Panagiotis Theodossiou (A0.886683). Two Rivers (from Lethe to Mnemosyne) for mezzo soprano, flute, clarinet, violin, cello and piano (2008)I. Lethe, the Water of Obliviona. The Guardiansb. Night Procession and LamentII. Mnemosyne, the Water of Remembrancea. Invocationb. IncantationThe work is written between September and December 2008 for mezzo soprano Angelica Cathariou and the Greek Ensemble of Contemporary Music under Valery Oreshkin. It is based on an excerpt of an ancient greek funerary inscription of 4th century B.C. found at the Trofonius Oracle in Petilia, South Italy.ÎÎ·Ï ÏÎ±Î¹Ï ÎµÎ¹Î¼Î¯ και Î¿Ï ÏανοÏ, αÏÏεÏÏενÏοÏ. ÎÏ ÏÎ¬Ï ÎµÎ¼Î¿Î¯ γÎÎ½Î¿Ï Î¿Ï Ïάνιον, ÏÏδε ίÏÏε και Î±Ï Ïοί. ÎίÏηι δâειμί αÏη και αÏÏÎ»Î»Ï Î¼Î±Î¹, αλλά δÏÏâ αίÏα ÏÏ ÏÏÏν ÏδÏÏ ÏÏοÏÏÎον ÏÎ·Ï ÎνημοÏÏÎ½Î·Ï Î±ÏÏ Î»Î¯Î¼Î½Î·Ï.(I am a child of earth and starry sky. My origin is celestial, and you know it very well. I am burning thurst and I loose myself. But give me soon cool water, springs from Lake Mnemosyne.)The text, which is being set at the 2nd part of the work, is an invocation of the soul descending to Hades to the guardians of lake Mnemosyne, to allow keeping its memory alive to the next life. Privilege, under tradition, of the initiate souls, counter to that of lake Lethe which led them to eternal oblivion.The two parts of the composition are the equivalent to the watery - metaphysical element of the two lakes - rivers running across Hades. The work is dedicated to the memory of composer's father Ioannis Theodossiou (1917 - 2008) and has been performed by Angelica Kathariou and the Greek Ensemble of Contemporary Music under Valery Oreshkin at Ph. Nakas Concert Hall, Athens, in 2009.
$25.00
23.32 €
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Panagiotis Theodossiou
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Two Rivers for mezzo-soprano, flute, clarinet, violin, cello and piano
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Panagiotis Theodossiou
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SheetMusicPlus
Staines Morris
Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - Digital Download SKU: A0.1…
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Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - Digital Download SKU: A0.1017678 Composed by Anonymous. Arranged by Gordon Jackson. Baroque,Celtic,Classical,Folk,Irish,Multicultural,World. Score and parts. 4 pages. Gordon Jackson #6436745. Published by Gordon Jackson (A0.1017678). Staines MorrisThe song, Staines Morris, is very well known by singers of traditional songs. Itâs a 17th century song. Itâs a 19th century song. Actually, itâs both! The lyrics were certainly published, and probably written, by Robert Cox for his play Actaeon and Diana, published in 1656. The tune was first published in John Playfordâs The English Dancing Master in 1651. There is no evidence that, in the 17th century, the lyrics were sung to this melody. That didnât happen for two hundred years, when William Chappell put the two together for his Popular Music of the Olden Time, vol. 1 (1859). I have added chords to the melody. Whilst humming the tune to myself, I found myself moving into 6/8 time, and that inspired me to compose a galliard based on it, complete with âdivisionsâ (runs of semiquavers or 32nd notes) and counterpoint. The song melody and the galliard can be played separately or as parts of one piece, perhaps with the galliard played between two of the verses. I put the galliard in A minor, to provide a contrast with the D minor song melody, but play them in whatever key takes your fancy. I have also added below the lyrics, as most often sung today.Come ye young men, come alongWith your music, dance and songBring your lasses in your handsFor âtis that which love commands Then to the Maypole haste away For âtis now our holidayIt is the choice time of the yearFor the violets now appearNow the rose receives its birthAnd the pretty primrose decks the earthAnd when you well reckoned haveWhat kisses you your sweetheart gaveTake them all again, and moreIt will never make them poorWhen you thus have spent your timeAnd the day be past its primeTo your beds repair at nightAnd dream there of your dayâs delight
$4.99
4.65 €
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Anonymous
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Gordon Jackson
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Staines Morris
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Gordon Jackson
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SheetMusicPlus
For the straight way was lost - Bb Clarinet & Viola duet
Clarinet,Instrumental Duet,Viola - Digital Download SKU: A0.1000882 Composed by Cha…
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Clarinet,Instrumental Duet,Viola - Digital Download SKU: A0.1000882 Composed by Charles Griffin. Contemporary. 23 pages. Coriolis Press #6096901. Published by Coriolis Press (A0.1000882). For the straight way was lost was commissioned and premiered by The Darkwood Consort in Boise, Idaho. But it has since been performed throughout the US and Europe many times in many duet combinations: Bb Clarinet and Viola, Bb Clarinet and Cello; Alto Sax and Viola, Alto Sax and Cello, and Viola and Bass Clarinet (the original!). The live video concert performance seen here is for Bb Clarinet and Cello, performed by Natalie Grata and Chris Erickson in Orlando, Florida. The title became unintentionally more and more appropriate over time, as the work has undergone multiple revisions and tweaking, and experiments. The title comes from a passage in Danteâs The Divine Comedy, and I chose it because, first, it includes the name of the ensemble that commissioned it from me, but second, it also seems a good description of how the compositional process sometimes goes and did go with this piece; sometimes while working, the piece takes unexpected turns (almost of its own volition) that must then be dealt with: Nel mezzo del cammin di nostra vitami retrovai per una selva oscura,che la diritta via era smarrita. In the middle of the journey of our lifeI found myself in a dark wood,for the straight way was lost. -Dante, from The Divine Comedy
$12.00
11.19 €
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Charles Griffin
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For the straight way was lost - Bb Clarinet & Viola duet
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Coriolis Press
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SheetMusicPlus
King Cotton March Piano Duet
1 Piano, 4 mains
1 Piano,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1078051 Composed by…
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1 Piano,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1078051 Composed by John Philip Sousa. Arranged by Christina Pepper. 20th Century,Classical,Patriotic,Traditional. Score. 10 pages. Christina Pepper #682258. Published by Christina Pepper (A0.1078051). The King Cotton March was composed in 1895 by John Philip Sousa for military band, and was written for the Cotton States and International Exposition. I've always enjoyed this particular march and found a couple different piano solo versions, but neither of them really packed the punch I was looking for. I wrote this arrangement for piano duet and then recorded both parts myself (as you can see in the video) and wanted to make it available for anyone else looking to play this great piece with a friend. Approximately an intermediate/advanced difficulty level.
$10.00
9.33 €
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1 Piano, 4 mains
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John Philip Sousa
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Christina Pepper
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King Cotton March Piano Duet
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Christina Pepper
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SheetMusicPlus
His Memory
Violon et Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.1261681 Composed by Robert Daniel…
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Piano,Violin - Level 4 - Digital Download SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published by RDMusicStudios (A0.1261681). On April 19, 2019, I started writing my first composition, His Memory, on my first album, Show Your Pride. The Show Your Pride album was influenced by my best friend, Nigel Shelby, who tragically passed away by suicide after experiencing bullying for being outed as gay. It has been a few years since his death turned a national spotlight on the issue of LGBTQIA+ mental health and bullying. He was 15 years old at the time of his passing. I feel like I've been stabbed in the heart when I found he was gone. It was the first time I had lost anybody that I was close to. I was in a lot of pain at the time. Losing my best friend is one of the most difficult and heartbreaking experiences I have had in my life. This album is telling a coming-out story about a bisexual musician going on a self-discovery journey to find his true authentic self. I first met Nigel in mid-2018 when I was nervous, struggling with depression, and coming out as bisexual, so I gathered enough strength and confidence to come out to him. He's very kind and supportive of me. He was brave enough to come out to me as well. He has been a really good friend and my spirit guide as long as I've known him. He was understanding, thoughtful, and had a maturity about him that I admired. I feel happy and honored to have known him and had the best friends with him. I truly believe he is watching over me every day. In this inspirational, heartbreaking piece, His Memory, I will share a coming-out story about two boys who came out to each other, spending their friendship together until one of them passes away. This piece is based on a true story of how I coped with grief, dealing with depression about my best friend's passing, and how I found happiness within myself after his memorial service. It drew inspiration from many compositions and soundtracks, including Where The Sky Has No Stars by Katahj Copley, Lose You Now by Lindsey Stirling (feat. Mako), You Will Be Found from Dear Evan Hansen by Benj Pasek & Justin Paul, April Sky by Lin Chin Cheng, and Avatar The Last Airbender by Jeremy Zuckerman. These compositions I mentioned express hope and spark memories of lost loved ones. This piece is in 3 Acts: Friendship, I Lost You. and His Memory Lives On. Each one was inspired by actual events. Act I: Friendship Act II: I Lost You Act III: His Memory Lives On While you are listening to this piece, I want you to think about someone you love who is no longer with you. If you're one of those people who lost someone special to you, I am so sorry for your loss. Just know that you are not alone. Don't try to run and hide from your grief. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold. You will grieve for as long as you need to, but you are a strong person and will find your way through this. Life is so precious. Cherish every moment with your loved ones. Coming out is one of the most difficult things a person can do, but if you are having difficulty or are unsure about it, just know that there are people out there who do love you for who you are. Learn to embrace your authentic self. Don't let your sexual orientation define who you are. The right people will accept you and those are the only people who matter. Be yourself, be happy, and do what you feel. Don't care so much about what others think and enjoy your life! Keep following your heart and don't be afraid to stand out!
$24.00
22.39 €
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Violon et Piano
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Robert Daniel
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His Memory
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RDMusicStudios
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SheetMusicPlus
Rustic Serenade
Quatuor à cordes: 2 violons, alto, violoncelle
String quartet - Digital Download SKU: IZ.CMF186 Composed by Kenneth Piotrowski. Sc…
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String quartet - Digital Download SKU: IZ.CMF186 Composed by Kenneth Piotrowski. Score and Parts. 44 pages. Imagine Music - Digital #CMF186. Published by Imagine Music - Digital (IZ.CMF186). 9 x 12 in inches.The creation of Rustic Serenade was quite different from the majority of my other compositions; it happened quite by accident with absolutely no thought out plan. I always carry manuscript paper with me to jot down melodies and other musical thoughts that pop into my head but never an entire piece of music. The following is how that all changed.Being an avid hiker, I set out one early autumn day. It was one of those wonderfully crisp, clear days that only New England offers. As I rounded a bend of the forested mountain trail there was a stony promontory that offered an unparalleled view of the valley below with its rolling pastures and farmlands and, still more distant, a waterfall. I followed the narrow ribbon of water with my eye as it twisted and wove its way through the trees and periodic meadows until I found myself gazing down onto a small village. Actually, it was more like a tiny hamlet, a few homes, two or three stone buildings, a small white church, a commons complete with bandstand and gardens and a mill with its waterwheel slowly spinning from the water that was diverted through a sluice from the river. As I continued to observe the scene below I became cognizant that within my mind I was hearing the soft pizzicato of a cello. It was soon followed by a viola in imitation and then finally the violins joined in, first with melody and then harmony. The solution was to extract the manuscript paper and pen from my backpack and write down what I heard.
$28.00
26.12 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Kenneth Piotrowski
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Rustic Serenade
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Imagine Music - Digital
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SheetMusicPlus
We Must Learn to Walk Together
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.72 €
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Piano, Voix et Guitare
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
The Tree Song
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1008091 Composed by Connie…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1008091 Composed by Connie Pwll Walck Tyler. Contemporary,Spiritual. Octavo. 12 pages. Connie Tyler #4833171. Published by Connie Tyler (A0.1008091). The Tree Song is one of many songs from the novel The Earth Woman Tree Woman Quartet. This piece for two cellos, a viola and a double bass, with SATB choir evokes the deep voice of the tree. The choral part is not difficult, but the strings are challenging. The string parts can be played on a synthesizer. Contact Connie at connie@deephum for help with this. The song is short, two and half minutes and might be performed with some of the other songs from the book. Some of the songs can be found on the website www.earthwomantreewoman.com. The words are: Waves of things of forms I am exist in dreams within me,flow through the sap of trees to come and leaves to come,falling, decaying, the soil I am, a nutrient for things living,eating the earth, water and sun, fruit I become,feeding the unrooted beings ever I'm giving.And then I am free.I stretch my wings and fling myself into the air.I sing, I call. My joy is beyond any earthly care.The snap of the jaws of the four-legged one is only a moment of painfor I am living again with a diff'rent name.And when this life's done the worms I become and pass to the earth to gain my rebirth. See my website at www.deephum.com and my facebook pages at Connie Pwll Walck Tyler, Deep Hum Productions, and The Earth Woman Tree Woman Quartet. For more information contact me at connie@deephum.com.
$5.00
4.66 €
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Chorale SATB
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Connie Pwll Walck Tyler
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The Tree Song
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Connie Tyler
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SheetMusicPlus
Nearer, My God, to Thee
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.904092 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.904092 Composed by Lowell Mason. Arranged by Adam Jensen. Blues,Christian,Jazz. Score and parts. 46 pages. Adam Jensen #35315. Published by Adam Jensen (A0.904092). The classic hymn Nearer, My God, to Thee is often used in solemn circumstances, most notably (at least according to rumor) during the sinking of the Titanic. The text, however, captures a balance between solemnity and celebration, suffering and mercy, death and new life. In adapting it for jazz big band, I found myself thinking about New Orleans jazz funeral parades, which also feature that same odd contradiction between grief and joy, through the use of the blues. I won't claim this is in any way authentic New Orleans jazz, but it does try to say some of the same things, and I hope you enjoy it. Written for standard jazz big band, with lots of room for open solos by the blues-inclined. Roughly 6 minutes, longer with additional solos. For more works, please visit http://jazzslider.org/store/composition/nmg, or follow me on Facebook at http://facebook.com/adamjensenjazz. Thanks!
$50.00
46.64 €
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Ensemble Jazz
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Lowell Mason
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Adam Jensen
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Nearer, My God, to Thee
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Adam Jensen
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SheetMusicPlus
Maestoso and Fugue in D minor for String Orchestra - Based on Ludwig van Beethoven Unv 7 Hess 40 & O
Orchestre à Cordes
String Orchestra - Digital Download SKU: A0.933521 Composed by Ludwig van Beethoven…
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String Orchestra - Digital Download SKU: A0.933521 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 18 pages. Upstream Music #6353295. Published by Upstream Music (A0.933521). Both the Adagio molto (Hess 40) and the unfinished, originally intended Fugue date from November, 1817. It was the publisher Tobias Haslinger who requested a prelude and fugue for a publication in line with works published earlier. Beethoven completed the prelude but with the fugue he stopped after merely four bars of music. The short original fugue theme was later inserted into the second part (Molto vivace) of the Ninth Symphony (Opus 125).The prelude (Beethoven did not give any time indication) starts with 37 bars of solemn music followed by 12 bars Allegro. In terms of form, rhythm, and key, this material shows great similarity to the Molto vivace from Opus 125 referred to above. The present version has been arranged for a string orchestra instead of for a string quintet, thus being the first publication which enables it to be performed in its entirety. In order to balance the foundation, I opted for introducing a contrabass part, which largely follows the cello part composed by Beethoven. As regards the phrasing, dynamics, and rests as well as the time indication, this publication follows those in Willy Hessâ publication. So the prescribed time âAdagio moltoâ is not that of Beethoven himself.The arguments to link the Maestoso to the Fugue in D major (Opus 137) published later are multiple. In the first place, the Fugue also dates from 1817. Secondly, the key is the same as is the number of instruments for a string quintet with two separate alto parts. Not only does the original fugue theme start at the tone a, but the timing too is the same, that is 3/8. So it seems reasonable to assume that Beethoven intended both works as a couple.The abnormal rhythmics of the bars 38 up to and including 49 is remarkable. I have preserved it because the part has been authentically composed by Beethoven, while it did not seem logical to me to have it immediately followed by the Fugue completed by myself. I have composed a number of bars of music based on the beginning of the prelude by way of a smooth transition.In the Fugue, I closely adhere to Beethoven, at the same time introducing a contrabass part here as well, so as to support the cello. At a number of places in the score, Beethoven recorded neither music nor rests. This refers to the bars 5 (second viola and cello), 11, 12, 25 and 26 (first and second violins), 39 to 41 (all parts), 43 and 44 (all parts except the first violin), 45 (first viola) and finally 45 and 46 (second violin). As in Willy Hessâ publication, I have just inserted rests here.
$29.00
27.05 €
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Orchestre à Cordes
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Ludwig van Beethoven, Cees Nieuwenhuizen
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Upstream Music
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Maestoso and Fugue in D minor for String Orchestra - Based on Ludwig van Beethoven Unv 7 Hess 40 & O
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Upstream Music
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SheetMusicPlus
Stabat Mater - string ensemble parts
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke L…
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Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what Iâve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. Itâs the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00
17.72 €
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble parts
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Annemieke Lustenhouwer
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SheetMusicPlus
Four Calm Interludes
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1160855 Composed by Nick Norton. Ch…
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Piano Solo - Level 2 - Digital Download SKU: A0.1160855 Composed by Nick Norton. Chamber,Classical,Contemporary,New Age. Score. 11 pages. Bathysphere Music #761167. Published by Bathysphere Music (A0.1160855). The four calm interludes (should that be capitalized?) are Four One, On Nothing, About Sixths, and On Sol. They are intended as simple, meditative pieces, perhaps good for student pianists to attempt.In spring of 2020, as the COVID-19 pandemic took hold, I suffered a massive manic episode followed by a debilitating depression that lasted over a year. During this time I found my relationship with music fraughtâI could not compose, and could barely even listen to music for enjoyment, relaxation, or whatever other reasons people listen to music. It was terrifying, thinking my lifeâs work was over.The shift to being unable to compose or listen, however, was a gradual, like the shift from mania to depression. I found my listening habits following what seemed like a massive ritardando, as they moved away from the upbeat music I was used to toward more and more ambient, very slow music. Hiroshi Yoshimuraâs album Music For Nine Postcards was on repeat for a long while before the total break. Its calm repetitions must have influenced what I was doing, because I sometimes found myself at the piano playing the same note or chord over and over again, just listening to the details in the resonance. Out of this came the first of these four pieces, On Nothing.Eight months later I found myself doing it again, the result of which is Four One. Another eight months went by before About Sixths, and then, as my recovery became more and more apparent, only two months passed until On Sol. I am grateful to say I am now composing every day again, though my music has, without conscious intention, taken on a far more introspective feel than ever before.I have not given the pieces numbers, because I donât mind if they are played in a different order, alone, orâas the title suggestsâas interludes between other pieces. I do like the printed order though.
$20.00
18.66 €
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Piano seul
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Nick Norton
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Four Calm Interludes
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Bathysphere Music
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SheetMusicPlus
Stabat Mater
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1187117 Composed by Annemi…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1187117 Composed by Annemieke Lustenhouwer. Contemporary. Octavo. 130 pages. Annemieke Lustenhouwer #786752. Published by Annemieke Lustenhouwer (A0.1187117). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what Iâve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. Itâs the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.Conductors score with parts for the string players.
$19.00
17.72 €
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Chorale SATB
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Annemieke Lustenhouwer
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Stabat Mater
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Annemieke Lustenhouwer
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SheetMusicPlus
She Works Hard For No Money
Chorale SSAA
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1168471 Composed by Donna …
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1168471 Composed by Donna Summer and Michael Omartian. Arranged by Kathleen McGuire. Disco,Pop. Octavo. 11 pages. Kathleen McGuire #768805. Published by Kathleen McGuire (A0.1168471). ***40th ANNIVERSARY***A Donna Summer hit from post-disco / new wave era (1983), She Works Hard for the Money is more than a fun pop piece. The song tells a story of a hard-working blue-collar woman, based on inspiration Summer found after the 25th Annual Grammy Awards ceremony (23 Feb 1983) when she attended an after-party. She encountered a restroom attendant named Onetta Johnson (whose name is mentioned in the song) whom she found sound asleep - despite a blaring TV - exhausted from working long hours. Summer related the story in an interview: I looked at her and my heart just filled up with compassion for this lady, and I thought to myself: God, she works hard for the money, cooped up in this stinky little room all night. Then I thought about it, and I said, She works hard for the money... She works hard for the money...This is it! This is it! I know this is it! The arrangement opens with an a cappella introduction in full harmony. The melody moves between the altos and sopranos, with each part otherwise providing rhythmic support (echoing the instrumental accompaniment). The sopranos divide into 3 parts occasionally, allowing some high voices (A-flat) to shine. There are no solos in this arrangement -- your women all have opportunity to sing this powerful, true story that serves more broadly as an allegory for women's rights and socioeconomic hardship. The arrangement is a show-stopper, bound to get audiences clapping and even up out of their seats! Set of band parts & full conductor's score available separately: Trumpet, Tenor Sax, Synth, Electric Guitar, Bass Guitar, Drum Set.
$1.99
1.86 €
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Chorale SSAA
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Donna Summer and Michael Omartian
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Kathleen McGuire
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She Works Hard For No Money
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Kathleen McGuire
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SheetMusicPlus
FROLIC (Piano Solo)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1104290 By ROBERT VAN HORNE. By ROB…
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Piano Solo - Level 4 - Digital Download SKU: A0.1104290 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Children,Christmas,Classical,Instructional,New Age. Score. 9 pages. White Piano International Publishing #707500. Published by White Piano International Publishing (A0.1104290). FROLICAdvanced Intermediate Piano Soloby ROBERT VAN HORNE Â 9 pagesDuration is about 3:20 In 1995, while performing at Nordstrom Valley Fair in San Jose, CA, I was asked to participate in a group of other Nordstrom pianists from all over the United States in a charitable Holiday project to benefit the âMake A Wish Foundation.â I was told to record several Holiday pieces and submit them to the main office in Seattle. It was a sunny Saturday morning in May when I recorded in my home a few of my favorite holiday songs, like Silent Night, Have Yourself A Merry Little Christmas, God Rest Ye Merry Gentlemen and other Christmas carols.After doing this, I asked myself, why don't I compose a new instrumental piano piece and submit it along with the other familiar demo examples. I imagined children playing in the snow, sledding down hills, their excitement on Christmas morning, and the wonderful spirit of the holiday season. After a little while I composed this piece. I then thought to myself; âIâll call it CHRISTMAS FROLIC. Even though Nordstrom never used this piece on their Holiday CD, I performed it for audiences. I remember once telling a friend, âHereâs a new piece I composed called CHRISTMAS FROLIC, however, it can only be played during the Christmas season. My friend replied; âRobert, why donât you just call it FROLIC, then you can play it all year long.The sheet music is clearly notated with dynamic and articulation marks, phrasing, pedal indications, suggested fingerings and appropriate musical terms for playing. This advanced intermediate piano solo can be played year around. It is an excellent teaching piece that can be used in recitals and school musical events and makes and excellent encore for professionals.It is a delightful musical listening treat for audiences and ideal for more advanced piano students. FROLIC was recorded as a piano selection in 1998 on Robertâs CD entitled PIANO & MEMORIES. The audio sample from the album has accompanied orchestral instrumentation and is not included in the piano sheet music. Robert Van Horne is a long standing member of ASCAP. Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.comHere is the link to the video: YouTube Link: https://youtu.be/8tC7nyF6W0I.
$5.99
5.59 €
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Piano seul
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ROBERT VAN HORNE
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FROLIC
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White Piano International Publishing
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SheetMusicPlus
She Works Hard For The Money
B-Flat Trumpet,Bass Guitar,Drum Set,Electric Guitar,String Synthesizer,Tenor Saxophone - L…
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B-Flat Trumpet,Bass Guitar,Drum Set,Electric Guitar,String Synthesizer,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1267220 By Donna Summer. By Donna Summer and Michael Omartian. Arranged by Kathleen McGuire. Disco. 44 pages. Kathleen McGuire #859859. Published by Kathleen McGuire (A0.1267220). SCORE AND SET OF PARTS TO ACCOMPANY THE WOMEN'S CHORAL ARRANGEMENTA Donna Summer hit from post-disco / new wave era (1983), She Works Hard for the Money is more than a fun pop piece. The song tells a story of a hard-working blue-collar woman, based on inspiration Summer found after the 25th Annual Grammy Awards ceremony (23 Feb 1983) when she attended an after-party. She encountered a restroom attendant named Onetta Johnson (whose name is mentioned in the song) whom she found sound asleep - despite a blaring TV - exhausted from working long hours.Summer related the story in an interview: I looked at her and my heart just filled up with compassion for this lady, and I thought to myself: God, she works hard for the money, cooped up in this stinky little room all night. Then I thought about it, and I said, She works hard for the money... She works hard for the money...This is it! This is it! I know this is it! The arrangement opens with an a cappella introduction in full harmony. The melody moves between the altos and sopranos, with each part otherwise providing rhythmic support (echoing the instrumental accompaniment). The sopranos divide into 3 parts occasionally, allowing some high voices (A-flat) to shine. There are no solos in this arrangement - your women all have opportunity to sing this powerful, true story that serves more broadly as an allegory for women's rights and socioeconomic hardship. The arrangement is a show-stopper, bound to get audiences clapping and even up out of their seats! Provided: Conductor's Score and Set of Band Parts: Trumpet in B-flat, Tenor Sax, Synth (Strings), Electric Guitar, Bass Guitar, Drum Set. Provided separately: SSAA Choral Arrangement - Piano Vocal Score.
$60.00
55.97 €
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Donna Summer
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Kathleen McGuire
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She Works Hard For The Money
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Kathleen McGuire
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SheetMusicPlus
Paregamutiun [cello solo] (suite of 4 pieces)
Violoncelle (partie séparée)
Cello Solo - Level 2 - Digital Download SKU: A0.596489 Composed by Juan MarÃa Sola…
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Cello Solo - Level 2 - Digital Download SKU: A0.596489 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Standards,World. Individual part. 12 pages. Juan Maria Solare #3088085. Published by Juan Maria Solare (A0.596489). Paregamutiún (Friendship): Four melodies of Armenian connotations for cello solo.I am not Armenian, but these melodies could be: it is an invented folklore. Nevertheless, I never wanted to compose an imitation of real Armenian music; for that I should live in Armenia a few years, learn the language, soak in a couple of millennia of culture and impregnate myself with the current problems. And yet it would be doubtful that the result would sound authentic. Neither I was interested in composing some sounding touristic postcards. These melodies reflect, yes, how a thankful being sees the Armenian from outside. And this is what grants them legitimacy.About the titles:The general title of the piece, Paregamutiún, is translatable as friendship. Sometimes it is transliterated Baregamutyun (as a certain station of the subway in Yerevan). The single titles of each piece refers to a lake, a mountain, a mythical patriarch and a tree of Armenia:1) Sevanavank: Monastery of the Black Lake, founded in 874. The name Sevan means literally Black Van, referring to a lake called Van. It is said that long ago the Armenians came from areas next to the lake Van towards the lake Sevan, they noticed that its waters were dark, almost black, but they reminded them of the lake Van, and therefore called it black Van: Sevan.2) Hayk is the patriarch of the foundational myth of the Armenian nation, and the original name of the country (Hayastán: land of the Armenians); some sources affirm that he was great great grandson or great-great-great grandson of Noah.3) Dziranà Dzar: apricot tree, the Armenian national fruit. Dzar is tree and dzirán is apricot, the obvious phonetic similitude seems to underline a strong semantic proximity between both concepts. The letter Dz is a complex phoneme similar to a smooth th.4) Masis is the Armenian name of mount Ararat, where -according to the Bible- ended up Noah's Arch after the Flood (Genesis 8:4).www.JuanMariaSolare.com
$10.00
9.33 €
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Violoncelle (partie séparée)
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Juan MarÃa Solare
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Paregamutiun [cello solo]
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Juan Maria Solare
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SheetMusicPlus
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