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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
At The Speed Of Light
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21
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15
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11
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1
Piano Quatuor: piano, violon, alto, violoncelle
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1
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1
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3
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Vents
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3
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Flûte, Clarinette et Basson
2
Flûte, Hautbois, Clarinette, Basson
1
Saxophone et Guitare
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1
Ensemble de Flûtes
1
Flûte, Clarinette (duo)
1
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
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2
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
PERCUSSION
PIANO
SAXOPHONE
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TROMPETTE
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Vous avez sélectionné:
At The Speed Of Light
Partitions à imprimer
85 partitions trouvées
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The Oboe
Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. And…
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Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. Andersson. 19th Century,21st Century,Classical,Comedy,Contemporary. 35 pages. Sahale Studios #917904. Published by Sahale Studios (A0.1329920). Once there was an oboist who was a member of a chamber ensemble consisting of flute, oboe, cello, and, piano. The oboist was highly skilled; a virtouoso who could ornament without the slighest effort. They were notorious for doing so.One day during dress rehearsal, the oboist, familiar enough with the music began ornamenting and adding stylistic flourishes, becoming increasingly carried away with their part. It finally reaches a point where the others stop playing and let the oboe go completely overboard with a full cadenza. Not far into the solo, the oboe realizes everyone else has stopped playing and stops themself and the rehearsal continues. However, not much farther along, the oboist becomes carried away in their part again, resulting in the other musicians pausing again as the oboist proceeds into another cadenza passage before realizing the others have stopped again.The rehearsal continues, and they all get further along (due to the oboe simply not playing), but when the oboe plays the melody, the ornaments and finesse return in full display, and finally the piano cuts the oboe off. At the slightest hint of an ornament all the other musicians in the ensmeble join in and cut off the oboe. From this, the oboist sinks into low spirits.The rehearsal continues unabated through the next section, and when the oboist enters, they play their part as written, but the ornamentations begin creeping in again. But rather than admonish the oboist the others instead speed the music up into the recapitulation section and for the remainder of the piece and rehearsal they all go wild with flourishes and ornamentations of their own, bringing the piece to a rollicking and lively conclusion.
$22.99
21.16 €
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James E
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The Oboe
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Sahale Studios
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SheetMusicPlus
Luminous Travels - The Journey of LightSail-A for Trombone and Symphonic Band
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.886109 Composed by Jason McChrist…
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Concert Band - Level 4 - Digital Download SKU: A0.886109 Composed by Jason McChristian. Contemporary. Score and parts. 193 pages. Jason Gary McChristian #238155. Published by Jason Gary McChristian (A0.886109). ​ In May 2015, a solar sail was launched into space by the publicly funded organization The Planetary Society. The construction of the sail consisted of a box the size of a loaf of bread (known as a CubeSat), metal booms, and four incredibly thin triangular Mylar sails. The vehicle was propelled by light from the Sun and in future projects; the sail would continue to gain momentum, ultimately accelerating to high speeds, allowing for travel along limitless distances. ​ Luminous Travels - The Journey of LightSail-A tells the account of this space-faring vessel in four major musical scenes. The first scene, UNFOLDING, features a lyrical melody first heard on the solo trombone then carried off by of the ensemble. The second scene, COMPUTING, depicts the inner-workings of the CubeSat. This new theme is rhythmic and aggressive, suggesting the hazards to come. The third scene, BLACKOUT, represents the communication blackouts that occurred during the flight that left the project in peril. This scene marks the cadenza of the work and depicts the lonely and frigid environment of space. Eventually, the unease is assuaged bringing hope back to the project. With a new sense of optimism, the final scene, ACCELERATING, represents the increase in speed that will occur in future solar sail space projects. The music from the earlier sections returns and changes, and as the music presses forward; the solo trombone rises into its highest register at breakneck speed as the solar sail crosses along infinite space. ​ The piece is dedicated to Keith Hunter, who has been a champion of my music and for whom Luminous Travels is dedicated. ​.
$79.99
73.61 €
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Orchestre d'harmonie
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Jason McChristian
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Luminous Travels - The Journey of LightSail-A for Trombone and Symphonic Band
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Jason Gary McChristian
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SheetMusicPlus
Under The Sea
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1349167 Composed by Alan Menken and…
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Easy Piano - Level 1 - Digital Download SKU: A0.1349167 Composed by Alan Menken and Howard Ashman. Arranged by Catherine Wilson. 20th Century,Broadway,Children,Film/TV,Instructional,Musical/Show. Score. 5 pages. Catherine Wilson #933907. Published by Catherine Wilson (A0.1349167). Under the Sea from The Little Mermaid is part of a series of Disney piano solo arrangements for late beginner / grade 1.  Everyone can benefit by learning pieces they recognise, but in the early stages of learning, this can sometimes prove to be a challenge too far.  If the piece is too far outside the ability level of the student, frustration and self-doubt can creep in.The arrangements in this series concentrate on building connections between how the music looks, how it feels, and what it sounds like. To simplify learning, the arrangements are notated at half speed (where needed), do not require any use of sharps or flats, and are harmonised using a 5 - note hand position in the left hand.Short introductions have been added to highlight the hand position changes used in the song.  These give students the opportunity to build their confidence by navigating the changes of hand positions before encountering them in the recognisable part of the song.Catherine lives in a small rural village in Shropshire, England and has over 25 years experience teaching piano. Since completing her Master’s Degree, specialising in composition, Catherine enjoys arranging existing melodies with pianistic accompaniments that focus on furthering technique as well as providing an opportunity to enjoy performing recognisable pieces.Please check out Catherine’s other arrangements and original compositions here: www.catherinewilsonmusic.comhttps://www.sheetmusicplus.com/en/category/arrangeme/224/catherine-wilson/.
$4.99
4.59 €
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Piano Facile
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Alan Menken and Howard Ashman
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Catherine Wilson
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Under The Sea
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Catherine Wilson
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SheetMusicPlus
Just Around The Riverbend
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1349152 Composed by Alan Menken and…
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Easy Piano - Level 1 - Digital Download SKU: A0.1349152 Composed by Alan Menken and Stephen Schwartz. Arranged by Catherine Wilson. 20th Century,Broadway,Children,Film/TV,Instructional,Musical/Show. Score. 5 pages. Catherine Wilson #933892. Published by Catherine Wilson (A0.1349152). Just Around the Riverbend from Pocahontas is part of a series of Disney piano solo arrangements for late beginner / grade 1.  Everyone can benefit by learning pieces they recognise, but in the early stages of learning, this can sometimes prove to be a challenge too far.  If the piece is too far outside the ability level of the student, frustration and self-doubt can creep in.The arrangements in this series concentrate on building connections between how the music looks, how it feels, and what it sounds like. To simplify learning, the arrangements are notated at half speed (where needed), do not require any use of sharps or flats, and are harmonised using a 5 - note hand position in the left hand.Short introductions have been added to highlight the hand position changes used in the song.  These give students the opportunity to build their confidence by navigating the changes of hand positions before encountering them in the recognisable part of the song.Catherine lives in a small rural village in Shropshire, England and has over 25 years experience teaching piano. Since completing her Master’s Degree, specialising in composition, Catherine enjoys arranging existing melodies with pianistic accompaniments that focus on furthering technique as well as providing an opportunity to enjoy performing recognisable pieces.Please check out Catherine’s other arrangements and original compositions here: www.catherinewilsonmusic.comhttps://www.sheetmusicplus.com/en/category/arrangeme/224/catherine-wilson/.
$4.99
4.59 €
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Piano Facile
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Alan Menken and Stephen Schwartz
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Catherine Wilson
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Just Around The Riverbend
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Catherine Wilson
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SheetMusicPlus
Go The Distance
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1349151 By Michael Bolton. By Alan …
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Easy Piano - Level 1 - Digital Download SKU: A0.1349151 By Michael Bolton. By Alan Menken and David Zippel. Arranged by Catherine Wilson. 20th Century,Broadway,Film/TV,Instructional,Musical/Show. Score. 5 pages. Catherine Wilson #933891. Published by Catherine Wilson (A0.1349151). Go the Distance from Hercules is part of a series of Disney piano solo arrangements for late beginner / grade 1.  Everyone can benefit by learning pieces they recognise, but in the early stages of learning, this can sometimes prove to be a challenge too far.  If the piece is too far outside the ability level of the student, frustration and self-doubt can creep in.The arrangements in this series concentrate on building connections between how the music looks, how it feels, and what it sounds like. To simplify learning, the arrangements are notated at half speed (where needed), do not require any use of sharps or flats, and are harmonised using a 5 - note hand position in the left hand.Short introductions have been added to highlight the hand position changes used in the song.  These give students the opportunity to build their confidence by navigating the changes of hand positions before encountering them in the recognisable part of the song.Catherine lives in a small rural village in Shropshire, England and has over 25 years experience teaching piano. Since completing her Master’s Degree, specialising in composition, Catherine enjoys arranging existing melodies with pianistic accompaniments that focus on furthering technique as well as providing an opportunity to enjoy performing recognisable pieces.Please check out Catherine’s other arrangements and original compositions here: www.catherinewilsonmusic.comhttps://www.sheetmusicplus.com/en/category/arrangeme/224/catherine-wilson/.
$4.99
4.59 €
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Piano Facile
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Michael Bolton
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Catherine Wilson
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Go The Distance
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Catherine Wilson
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SheetMusicPlus
In the Evening by the Moonlight
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.817619 Composed by James Bland.…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. Sweetwater Brass Press #424503. Published by Sweetwater Brass Press (A0.817619). James Alan Bland, composer of “In the Evening by the Moonlight,” was a prolific song writer. He is said to have created the words and music for more than 600 compositions. Born in 1854 to a free African American family in Flushing, New York, he made a name for himself as musician, composer and minstrel performer. Among his compositions were “Oh, Dem Golden Slippers,” “In the Morning in the Bright Light” and “De Golden Wedding.” His most famous song by far was “Carry Me Back to Old Virginny,” which the State of Virginia used as its official anthem for over 50 years. Bland, in keeping with his persona as a minstrel, wrote the lyrics to “In the Evening by the Moonlight” in dialect. Years passed and sensitivities changed, but the song’s poignant melody and basic sentiment survived. Latter day recordings, such as those by Bing Crosby and the Ray Charles Singers, dropped the dialect and objectionable terms. One of the most notable versions was by singer, pianist and civil rights activist Nina Simone, released in 1960 on the album Nina at Newport. This brass quintet version begins with the group instrumentally humming along under an eight-measure Horn in F introduction. The first statement of the melody initially takes the form of a partial call-and-response between a Trombone/Horn duo and Trumpet 1, then switches to an exchange between Trumpet 1 and Tuba. Next, the melody is repeated but in a rhythmic pattern reminiscent of the 1880 tune “Here Dem Bells”; Tuba plays counterpoint. Third time around, the melody is presented almost exactly as Bland wrote it and as Hitchcock’s Music Store published it in 1880. Finally, the tempo slows and the melody is presented as so many have sung it around campfires at YMCA, 4-H and other youth camps all over the country: softly and tenderly. The arrangement ends with a brief recapitulation of the introduction. There are no really difficult or tricky rhythms in this arrangement. Trumpet 1’s highest note, which occurs in Section D, is A above its staff; Tuba’s lowest, G below the staff. Otherwise, there are no exceptionally high or low notes. The piece opens in the key of F major then, about halfway through, changes to G major. Tempo opens with a suggested MM of 104, speeds up to 120, slows to 66, increases again to 122 and finally slows to 66. Completed in 2022, performance time runs about 4 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would also like to receive your suggestions, comments, corrections and criticisms. Contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95
7.32 €
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Ensemble de cuivres
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James Bland
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F
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In the Evening by the Moonlight
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Sweetwater Brass Press
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SheetMusicPlus
I Gave My Love a Cherry (The Riddle Song ["The Twelfth of Never"])
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1130062
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1130062 Composed by English Folk Song by way of American Appalachians. Arranged by F. Leslie Smith. Celtic,Children,Folk,Irish,Traditional,Wedding. Score and parts. 28 pages. Sweetwater Brass Press #730439. Published by Sweetwater Brass Press (A0.1130062). The origins of this lullaby can be traced back to 15th-century England. Pioneers from the British Isles brought it with them to the American Appalachians. Written in three verses, its lyrics tell of four seemingly impossible gifts the singer gave my love. The first verse describes each gift: cherry that has no stone, a chicken that has no bone. a story that has no end and a baby with no cryin'. The second verse poses the riddle: how can such items exist? The third provides the answers: A cherry when it's bloomin', it has no stone. A chicken when it's pippin', it has no bone. The story of I love you, it has no end. A baby when it's sleepin', has no cryin'. This Riddle Song has enjoyed somewhat of a revival since mid-20th century, making appearances in various movies, TV shows and recordings. In 1956, Jerry Livingston and Paul Francis adapted The Riddle Song tune, added an original bridge and created new lyrics; Johnny Mathis recorded it as The Twelfth of Never, giving the haunting melody probably its greatest surge in popularity. This arrangement is in G major and opens with an upbeat introduction. For the first statement of the melody, tempo slows and Trumpets alternate the lead. On the second time through, tempo speeds up slightly and tuba takes the lead. For the third, tempo is back to the opening speed and Horn in F plays the melody. On the fourth time through, Trumpets and Trombone frame the tune in a call-and-response form. In the fifth, Trombone takes the lead. In the sixth and final statement, Horn in F and Trombone play melody at half speed while Trumpets play a fairly complicated counterpoint (at what may seem like double speed!). This, until the last phrase (A baby when it's sleepin'), when the melody switches over to Trumpets and Trombone takes the counterpoint. Trumpet 1 plays its A above the staff a number of times. Tuba's lowest note is its F down below the staff. Otherwise, notes for all instruments are well within normal playing range. Because of the recommended tempo, the countermelody at measures 68-83 could be problematic for Trumpets and Trombone and may require a little extra work. Completed in 2022, performance time runs about 3 minutes, 42 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95
7.32 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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English Folk Song by way of American Appalachians
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F
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I Gave My Love a Cherry
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Sweetwater Brass Press
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SheetMusicPlus
The Chase by Neil Awasthi
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1033340 Composed by Neil Awasthi. C…
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Piano Solo - Level 4 - Digital Download SKU: A0.1033340 Composed by Neil Awasthi. Contemporary. Score. 6 pages. Neil Awasthi #6352703. Published by Neil Awasthi (A0.1033340). The chase is afoot! A rather large cat attempts to hunt a wily mouse. The mouse tries to escape the cat’s clutches. Who succeeds?This piece’s ternary form follows the chase between a cat and mouse. Section A is lively and fast-paced because the cat is on the hunt for the mouse. Since this piece is written from the mouse’s perspective, C-sharp minor conveys the mouse’s fright and fear. The time signature is 4/4 to allow for 16th notes, which denote running steps. The theme in m.19 repeats several times throughout Section A to signify the large cat’s ominous stalking. Tenutos and staccatos punctuate the cat’s heavy steps. In m.14-15, the chromatic scale represents the cat’s momentum. The constantly changing dynamics showcase the various movements and emotions in a chase. Specifically, in m.28-31, the dynamic changes to piano and pedal is employed to signify the mouse’s despair. Section B stands alone, representing the mouse’s successful escape from the cat. The section’s key signature D-flat major is light and happy. A time signature of 6/8 swings, furthering the carefree mood of the mouse. The beginning of Section B repeats to emphasize the mouse’s joyous escape. However, at the end of the section, the cat returns. In m.61-68, varying speeds and descriptors contrast the movements of the cat and mouse. In m.68, the cat’s theme is an octave lower to draw attention to the cat’s threatening, heavy steps. In m.70-71, the notes accelerate to show that the mouse begins to run again. Section A’s refrain recaps the cat chasing the mouse. In m.89-100, the end, tells the mouse’s fate. The climatic ending is highlighted by the speeding tempo. The treble-clef notes are an octave higher to build excitement. In m.95-96, notes descend 4 octaves to indicate the mouse’s ultimate demise. The piece ends with grand chords to mark the mouse’s death.
$2.99
2.75 €
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Piano seul
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Neil Awasthi
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The Chase by Neil Awasthi
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Neil Awasthi
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SheetMusicPlus
At The Speed Of Light (ÆÞ ÅžPĘĖРŒF ÅĮĞĦÞ)
Piano seul
Instrumental Solo,Piano - Level 5 - Interactive Download SKU: A0.1376961 By Riot. B…
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Instrumental Solo,Piano - Level 5 - Interactive Download SKU: A0.1376961 By Riot. By Dimrain47 and Riot. This edition: Interactive Download. Video Game. Individual part. 13 pages. Duration 253. Ziad är bäst :D #1ykgUJfGFKmYgTCtnFxGUY. Published by Ziad är bäst :D (A0.1376961). Key: C minor.Shoutout to riot for doing such a good job in gd!!! :D.
$10.00
9.2 €
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Piano seul
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Riot
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At The Speed Of Light
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Ziad är bäst :D
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.08 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Set Fire To The Rain
2 Guitares (duo)
Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.797743
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Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.797743 By Adele. By Adele Adkins and Fraser Smith. Arranged by Derek Hasted. Pop. Score and parts. 16 pages. Derek Hasted #4408592. Published by Derek Hasted (A0.797743). SET FIRE TO THE RAIN (Adele) - GUITAR DUETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This arrangement of Adele’s classic hit has some awkward rhythms in the top part, but you can bend the rhythm slightly against the metronomic bottom part. Much of Adele's improvisation at the end of the track is captured here, unlike some other published editions.Guitar One goes up to top G, but there’s no fingering as you may want to choose when to change position. Guitar Two, by contrast, is more straightforward though the first beat is often written to come early - at the back of the previous bar or measure.Whilst it would have been nice to swap the parts over at the phrase boundaries, the change of pitch and the way the melody overlaps the bar-lines mean that a changeover would spoil the flow and balance.The metronome mark is close to the speed of the original, but the lush tone of the guitar allows you to go a little slower if it makes for a tighter performance.The parts are laid out with extra sample pages at the front so that you can preview some of each part and some of the full score on screen before purchase. I hope you enjoy playing this piece!
$4.99
4.59 €
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2 Guitares (duo)
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Adele
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Derek Hasted
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Set Fire To The Rain
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Derek Hasted
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SheetMusicPlus
Set Fire To The Rain
Flûte et Guitare
Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.7…
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Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.797744 By Adele. By Adele Adkins and Fraser Smith. Arranged by Derek Hasted. Pop. Score and parts. 16 pages. Derek Hasted #4408730. Published by Derek Hasted (A0.797744). SET FIRE TO THE RAIN (Adele) - FLUTE and GUITARFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This arrangement of Adele’s classic hit has some awkward rhythms in the flute part, but you can bend the rhythm slightly against the metronomic bottom part. Much of Adele's improvisation at the end of the track is captured here, unlike some other published editions.The Guitar part is straightforward, though the first beat is often written to come early - at the back of the previous bar or measure. A Capo is required at the fifth fret, but this makes the part much easier on the fingers.The metronome mark is close to the speed of the original, but as an instrumental, it also works if you go a little slower, especially if it makes for a tighter performance.The parts are laid out with extra sample pages at the front so that you can preview some of each part and some of the full score on screen before purchase. I hope you enjoy playing this piece!There is also a version for two guitars which doesn't use a capo and is in a lower key...
$4.99
4.59 €
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Flûte et Guitare
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Adele
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Derek Hasted
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Set Fire To The Rain
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Derek Hasted
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SheetMusicPlus
"At The Edge Of A Spiral" - for Piano Four-Hands [Performance Score]
1 Piano, 4 mains
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.976038
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Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.976038 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 27 pages. Lior Navok Music #4725307. Published by Lior Navok Music (A0.976038). AT THE EDGE OF A SPIRAL - for Piano Four-Hands (2004) DURATION: 10 Minutes PROGRAM NOTES: The composer writes about his work: At the Edge of a Spiral for one piano, four hands is a short journey of a built intensity. It is based on few fragments, motives that are lit in different light each time. The piece starts slow, but increases its intensity and speed as it progresses, utilizing the same motives. While composing the piece, I heard about a young man that threw himself to the river. I tried to imagine that went in his mind and what brought to this dead-end. And again the idea of a built intensity, obsessive and uncompromising came to my mind. At the very end of the piece, there is a sudden drop of intensity followed by a music box passage, as if describing what is going on in the person's mind right after the jump, right after reaching the edge of his life's spiral. At the Edge of a Spiral was written and dedicated for the Silver-Garburg Piano Duo - Sivan Silver and Gil Garburg. It was funded by the generous support of Miriam and Eliezer Benbassat. INFO: Item: Performance Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 27 Binding: Ink: Black & White Paper Size: Folio / Legal.
$18.00
16.57 €
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1 Piano, 4 mains
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Lior Navok
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"At The Edge Of A Spiral" - for Piano Four-Hands [Performance Score]
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Lior Navok Music
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SheetMusicPlus
Flight of The Bumblebee - Flute Quartet Score & Parts
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Flute - Level 5 - Digital Download SKU: A0.1509409
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Woodwind Ensemble,Woodwind Quartet Flute - Level 5 - Digital Download SKU: A0.1509409 By Francesco Leone. By Nikolay Andreyevich Rimsky-Korsakov. Arranged by Francesco Leone. Romantic Period. 18 pages. Glissato Edizioni Musicali #1084648. Published by Glissato Edizioni Musicali (A0.1509409). Flight of The Bumblebee: A High-Flying Arrangement for Flute QuartetEmbark on a thrilling musical journey with this advanced-level arrangement of Nikolai Rimsky-Korsakov's Flight of The Bumblebee, masterfully adapted for flute quartet by Francesco Leone. Celebrated for its exhilarating pace and virtuosic demands, this piece offers a unique challenge to flutists, inviting them to capture the essence of a bumblebee's frenetic flight through their instruments.Arrangement Features:Instrumentation: This sophisticated arrangement is scored for a flute quartet, allowing each flutist to partake in the intricate melody and rapid-fire sequences that define the piece. The distribution of parts ensures a balanced ensemble sound, highlighting the technical prowess and musicality of each player.Level: Advanced. Tailored for flutists seeking to elevate their technical skills and ensemble playing, this arrangement presents an opportunity to delve into the nuances of one of classical music's most dynamic compositions. It challenges performers to achieve precision, speed, and flawless coordination.Score and Parts: Included in the purchase are the full score and individual parts, all thoughtfully prepared with the performer in mind. The clear and concise notation aids in navigating the complex passages and facilitates an effective rehearsal process.Exclusive Online Resources:An audio demo is available at Glissato's website, providing an invaluable resource for performers. This demo showcases the arrangement's potential when brought to life, serving as a benchmark for tempo, articulation, and ensemble cohesion. It's a crucial tool for both individual practice and group rehearsal, ensuring that performers can strive towards a unified and impactful interpretation.Master Flight of The Bumblebee with Your Flute Quartet:Dive into the fast-paced world of Flight of The Bumblebee and let this arrangement for flute quartet transform your performance repertoire. Perfect for concerts, competitions, or personal achievement, Francesco Leone's adaptation not only tests your technical limits but also enriches your expressive capabilities. Seize the opportunity to bring this iconic piece to life with flair and precision, captivating your audience with the sheer speed and beauty of Rimsky-Korsakov's masterpiece, reimagined for flutes.
$16.00
14.72 €
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Quatuor de Flûtes : 4 flûtes
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Francesco Leone
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Francesco Leone
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Flight of The Bumblebee - Flute Quartet Score & Parts
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Glissato Edizioni Musicali
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SheetMusicPlus
Succession Theme
4 Guitares (Quatuor)
Guitar Ensemble - Level 3 - Digital Download SKU: A0.1490151 Composed by Nicholas B…
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Guitar Ensemble - Level 3 - Digital Download SKU: A0.1490151 Composed by Nicholas Britell. Arranged by Derek Hasted. Film/TV. Score and Parts. 16 pages. Derek Hasted #1067003. Published by Derek Hasted (A0.1490151). SUCCESSION TV THEME - for 4 GUITARS/Large EnsembleDerek Hasted writes Originally set in the key C minor, this quirky, short, TV theme tends to prove something of an ear worm with those who hear it. Perfect to close the first half of a concert, then!I've moved the piece into the key of E minor, partly to make best use of the guitar neck, and partly to allow open string harmonics to recreate effortlessly the octave jumps in the original piano chords.I’ve added fingering where I hope it will help. The main theme moves from player to player, so that no single player has extended runs at speed and the audience will enjoy an amazing stereo effect too. The dynamics show where the tune needs to be brought out.The original is very fast, and you may find, as I do, that it breathes better on guitar if taken 10% slower, with the bonus of making the piece just that little bit longer too.I have also arranged this for guitar duet, in an arrangement that is slightly more demanding - find it from my website below.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.59 €
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4 Guitares (Quatuor)
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Nicholas Britell
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Derek Hasted
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Succession Theme
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Derek Hasted
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SheetMusicPlus
How The Grinch Stole Christmas
Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,Drum Set,Euphonium,Flute,Hand Perc…
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Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,Drum Set,Euphonium,Flute,Hand Percussion,Horn,Multi-Percussion,Oboe,Piano,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Vibraphone,Xylophone - Level 5 - Digital Download SKU: A0.846336 Composed by Albert Hague and Theo Geisel. Arranged by Mike Hyziak. Contemporary. 137 pages. MPH Holding #5221979. Published by MPH Holding (A0.846336). (SLIGHTLY REDUCED) CONCERT BAND. This medley includes Main Titles, Welcome Christmas, Trim Up the Tree, You're a Mean One, Mr. Grinch, Cindy-Lou Who, and Welcome Christmas - FinaleHello, and thank you very much for your interest in my works! With this purchase you will receive a full score & complete set of parts, along with a MIDI rendition with click count-off at 100% speed. MIDI renditions at 85% and 70% speeds are available by request, free of charge. Do you need an alternate part that is not in the score? One can be made for you, for a small fee. All inquiries can be made by contacting me via email at: mike.hyziak@yahoo.comFinally, I have many more works not yet listed here, available on my website:http://emmphmusic.com/EMMPH/Sheet_Music_Purchases.html.
$110.00
101.23 €
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Albert Hague and Theo Geisel
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Mike Hyziak
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How The Grinch Stole Christmas
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MPH Holding
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SheetMusicPlus
Dance of the Tumblers (Dance of the Clowns)
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.808695 Composed by Nikolai Rims…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.808695 Composed by Nikolai Rimsky-Korsakov (1844-1908). Arranged by F. Leslie Smith. Holiday,Patriotic,Romantic Period. Score and parts. 44 pages. Sweetwater Brass Press #4819845. Published by Sweetwater Brass Press (A0.808695).   Nikolai Rimsky-Korsakov composed his third opera, The Snow Maiden, during the period 1880-1881. Based on Alexander Ostrovsky’s play of the same name, The Snow Maiden uses fairy-tale characters to portray the opposing forces of nature, winter versus summer. Act 3 contains the Dance of the Skomorokhi. Skomorokhi were traveling performers in old Russia and, in connection with this composition, the term is usually translated as tumblers or clowns. Rimsky-Korsakov also included this selection as one of four movements he compiled into a concert suite based on the opera. Dance of the Tumblers has become one of his most frequently performed and best known pieces.  Light and uplifting, Dance of the Tumblers is vibrant, energetic and addictive. It takes the form of, as one commenter wrote, a classical sonata-structure, complete with development section, invigoratingly intensified reprise, and a veritable whirlwind of a coda. This brass quintet arrangement retains the original key signature of C but adjusts register to make the melodies accessible and playable. As a result, most notes are well within the normal playing range of the five brass instruments. Trumpet 1’s highest note is its A above the staff. At measures 132 and 133, Trumpet 2 has the option of playing some high notes (including one C above its staff) an octave down. Tuba plays mostly in the lowest register, with quite a few low F notes and one low E. Most instruments have some octave jumps, but all have a lot of notes to play in a very short time: many, many sixteenth notes. The score is marked Vivace, and the audio sample moves along at a pretty fast clip. But of course, the speed at which performers actually play the piece is up to them, a matter of interpretation.   This arrangement was completed in 2019, and performance time runs about 3 minutes, 38 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$14.95
13.76 €
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Ensemble de cuivres
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Nikolai Rimsky-Korsakov
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F
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Dance of the Tumblers
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Sweetwater Brass Press
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SheetMusicPlus
The Merry Boys of Greenland - 2 flutes, oboe & clarinet/bassoon
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Downloa…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.956672 Composed by Traditional Scottish. Arranged by Catriona Melville-Mason. Celtic,Concert,Standards. 12 pages. C Melville-Mason #6867581. Published by C Melville-Mason (A0.956672). A traditional fiddle tune from Scotland's Shetland Isles, arranged here for 4-part mixed woodwind combination of 2 flutes, oboe and either clarinet in B-flat or bassoon. This piece makes a lively addition to general repertoire, or can be used in a recital programme either as a light-hearted interlude or an upbeat encore. Although classed as 'intermediate', the difficulty level depends very much on the speed at which the piece is played!The title of The Merry Boys of Greenland appears with many subtle variations – ‘the’ is sometimes replaced by ‘da’, ‘of’ by ‘o’’ and ‘merry’ as ‘merrie’ or ‘mirrie’. It is believed that the ‘Merry Boys’ of the tune may have been recruited from the Shetland Isles (the northernmost island group off the coast of Scotland) to form the crew for whaling expeditions to the seas between Greenland and Canada.
$5.50
5.06 €
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Flûte, Hautbois, Clarinette, Basson
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Traditional Scottish
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Catriona Melville-Mason
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The Merry Boys of Greenland - 2 flutes, oboe & clarinet/bassoon
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C Melville-Mason
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SheetMusicPlus
Charlie Brown Theme
Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bass Voice,Bassoon,Bells,Drum Set,Euphoniu…
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Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bass Voice,Bassoon,Bells,Drum Set,Euphonium,Flute,Horn,Multi-Percussion,Piano,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.846332 Composed by Vince Guaraldi. Arranged by Mike Hyziak. Jazz. 104 pages. MPH Holding #5221949. Published by MPH Holding (A0.846332). (SLIGHTLY REDUCED) CONCERT BAND. This medley includes O Tannenbaum, Christmas Time is Here, Christmas is Coming, Linus and Lucy, and Hark,  the Herald Angels Sing.Hello, and thank you very much for your interest in my works! With this purchase you will receive a full score & complete set of parts, along with a MIDI rendition with click count-off at 100% speed. MIDI renditions at 85% and 70% speeds are available by request, free of charge. Do you need an alternate part that is not in the score? One can be made for you, for a small fee. All inquiries can be made by contacting me via email at: mike.hyziak@yahoo.comFinally, I have many more works not yet listed here, available on my website:http://emmphmusic.com/EMMPH/Sheet_Music_Purchases.html Â
$100.00
92.03 €
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Vince Guaraldi
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Mike Hyziak
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Charlie Brown Theme
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MPH Holding
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SheetMusicPlus
Northern Landscapes - Score Only
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1088410 Composed…
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1088410 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 22 pages. Antonio Gervasoni #692675. Published by Antonio Gervasoni (A0.1088410). Single-movement work for string quartet Northern Landscapes is a piece inspired by a trip I made in December 2019 to Mancora, a city and also a well-known beach resort in the Piura region, in northwestern Peru. There are no direct flights to Mancora and the trip by land from the nearest airport takes about an hour, crossing a desert landscape of beautiful yellow, orange and brown shades, which extend through endless valleys and majestic canyons. It is this part of my journey to Mancora that inspired me to write Northern Landscapes, whose objective is simply to capture the essence of that sensation of going at great speed through a colorful scenery.
$4.99
4.59 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Antonio Gervasoni
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Northern Landscapes - Score Only
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Antonio Gervasoni
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SheetMusicPlus
Local Hero - Wild Theme
Guitar,Instrumental Duet,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1277982
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Guitar,Instrumental Duet,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1277982 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 16 pages. Derek Hasted #869685. Published by Derek Hasted (A0.1277982). LOCAL HERO - WILD THEME - TENOR SAX and GUITAR DUETSuits Classical, Acoustic or Electric GuitarDerek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for Tenor Sax and Classical Guitar exploits the sustain of the sax and the soft tones of nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. My arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune. Note that the guitar part is played with a Capo on the first fret so that both players can enjoy an accessible key signature. The guitar part goes up the neck, and the position numbers are relative to the Capo (ie one fret higher than if there was no Capo fitted).There are two arrangements here - one in the husky low register of the sax, to suit a less experienced player, and one an octave higher that has a few challenging notes at the top, but sings out in a gloriously powerful way. The sound clip on the SheetMusicPlus website has a little of both arrangements.There are no dynamics, but the changing texture of the accompaniment creates the illusion of dynamic changes and you are welcome to add phrasing and dynamics to make the performance “yoursâ€.The guitar part is a little challenging at speed but this will suit confident intermediate players.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.59 €
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
Local Hero - Wild Theme
B-Flat Clarinet,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1277944
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B-Flat Clarinet,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1277944 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 13 pages. Derek Hasted #869648. Published by Derek Hasted (A0.1277944). LOCAL HERO - WILD THEME - Bb CLARINET and GUITAR DUETSuits Classical, Acoustic or Electric Guitar Derek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for Bb clarinet and classical guitar exploits the sustain of the clarinet and the soft tones of nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. My arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune. Note that the guitar part is played with a Capo on the first fret so that both players can enjoy an accessible key signature. The guitar part goes up the neck, and the position numbers are relative to the Capo (ie one fret higher than if there was no Capo fitted).There are no dynamics, but the changing texture of the accompaniment creates the illusion of dynamic changes and you are welcome to add phrasing and dynamics to make the performance “yoursâ€.The guitar part is a little challenging at speed but this will suit confident intermediate players.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.59 €
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
Local Hero - Wild Theme
Saxophone et Guitare
Alto Saxophone,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1278149
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Alto Saxophone,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1278149 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 13 pages. Derek Hasted #869846. Published by Derek Hasted (A0.1278149). LOCAL HERO - WILD THEME - ALTO SAX and GUITAR DUETSuits Classical, Acoustic or Electric GuitarDerek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for Alto Sax and Classical Guitar exploits the sustain of the sax and the soft tones of nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. My arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune. Note that the guitar part is played with a Capo on the first fret so that both players can enjoy an accessible key signature. The guitar part goes up the neck, and the position numbers are relative to the Capo (ie one fret higher than if there was no Capo fitted).There are no dynamics, but the changing texture of the accompaniment creates the illusion of dynamic changes and you are welcome to add phrasing and dynamics to make the performance “yoursâ€.The guitar part is a little challenging at speed but this will suit confident intermediate players.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.59 €
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Saxophone et Guitare
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
Etude in C, Le Couppey-Nolte
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte …
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Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte and Felix Le Couppey. Arranged by Eric Paul Nolte. Contemporary,Instructional. Score. 5 pages. Eric Paul Nolte #1954995. Published by Eric Paul Nolte (A0.987083). This piece is a free adaptation and a complete reworking of a study by Felix Le Couppey (1811-1887), from his L'Agilité, Opus 20, 25 Progressive Studies for Mechanism and Light Touch. In its original form, this study was a charming little piece of musical fluff. But getting it up to speed reduced me to tears! It also gave me an epiphany of immense power that transformed my technique. Suddenly I could play faster than I had ever thought possible, and I could do so with a thrilling ease! This epiphany emerged from the spluttering frustration I felt over my inability to play these sixteenth notes at Le Couppey's metronome marking of 144. It dawned on me that I couldn’t play fast enough because I was tripping over my own fingers when I used the overly articulated technique of moving the fingers by the lift, throw, relax method. This superfluous motion creates an impenetrable barrier, a speed wall, as does playing legato scales by passing the thumb under the palm, when shifting hand position up and down the keyboard. So I found another way-which I’ve since learned was known to every pianist who ever achieved prodigious speed. Here’s how to bring this piece up to speed with ease: Be sure to practice this piece with each hand alone. For each group of sixteenth notes, gently place the four fingers down simultaneously, to get the feel. Think of your arm, from elbow to fingertips, as something like a kitchen utensil, such as a spatula. Moving your right arm as a unit, place your finger tips down into the key bed, depressing all four notes at once, as a block chord. Make sure that all the fingers remain stiff (not rigid with tension, but just stiff enough to resist collapsing upwards.) Slowly lift and then play each group by placing all the fingers down with a rotation of your forearm, calm and relaxed, with the fingers rolling through the notes at the speed of a brief snare drum roll: Rrrrip! To rip through this group of notes like this takes no more effort than to place those four fingers down, calmly, all at once! Then, with a quick shift up or down the keyboard to get into position for the next group, that’s the whole trick for playing such passages with astonishing speed and ease! It takes time and effort to get the knack here, but the result can be transformative and thrilling! As for my adaptation of this study, I believe it offers intermediate advanced players the chance to enjoy a great leap in technique like the one I experienced, and also offers a piece of music that one might not blush to play outside the practice room-perhaps bringing it at least into the living room for a soirée, if not into the concert hall. To make this adaptation, I wrote a grumbly bass line with lungs, and nice fat chords to flesh out most of the skinny little triads that accompany the original study’s fast passages. I added a brooding, chromatic introduction that features as a melody the accompanimental figure of a broken triad that Le Couppey wrote a few times on the second page, in various inversions. I employed this broken chord figure several more times in both hands, and also added a little coda, sprinkled with sparkle. Playing time is about 1 minute and 30 seconds.
$3.99
3.67 €
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Piano seul
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Eric Paul Nolte and Felix Le Couppey
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Eric Paul Nolte
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Etude in C, Le Couppey-Nolte
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Eric Paul Nolte
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SheetMusicPlus
Local Hero - Wild Theme
Flûte et Guitare
Flute,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1275340 By Dire…
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Flute,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1275340 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 13 pages. Derek Hasted #867223. Published by Derek Hasted (A0.1275340). LOCAL HERO - WILD THEME - FLUTE and GUITAR DUETSuits Classical, Acoustic or Electric GuitarDerek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for flute and classical guitar exploits the sustain of the flute and the soft tones of  nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. My arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune. There are no dynamics, but the changing texture of the accompaniment creates the illusion of dynamic changes and you are welcome to add phrasing and dynamics to make the performance “yoursâ€.The guitar part is a little challenging at speed but this will suit confident intermediate players.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.59 €
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Flûte et Guitare
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
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