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Tchaikovsky: Waltz from "Sleeping Beauty" for Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Composed by P. I. Tchaikovsky. Arranged by Darrell Goforth. Romantic Period, Reperto…
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Composed by P. I. Tchaikovsky. Arranged by Darrell Goforth. Romantic Period, Repertoire, Christmas, Wedding. Score, Set of Parts. 27 pages. Published by Darrell Goforth
This is an arrangement of the famous Waltz from Tchaikovsky's "Sleeping Beauty Ballet". I have taken it from the original orchestral score using the original key. At 3 minutes and 28 seconds, it is a somewhat abbreviated version. I have left out some of the repetitions in the original ballet. Without dancers to watch, the piece can be a little tedious. This piece would be ideal in any situation where a little light music is required, possibly even Christmas or a wedding.
$19.99
19.18 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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P
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Darrell Goforth
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Tchaikovsky: Waltz from "Sleeping Beauty" for Woodwind Quintet
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Darrell Goforth
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SheetMusicPlus
Global Song Preludes and Intonations
Orgue
Organ - Digital Download Arranged by William McNair. Tune Name: Argentina, Cantai Ao …
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Organ - Digital Download Arranged by William McNair. Tune Name: Argentina, Cantai Ao Senhor, Chereponi, He Came Down, Kalinga, Kas Dziedaja, Kelvingove, Kwake Yesu Nasimama, Nyanyikanlah Nyanyian Baru, Star Of The County Down, Une Jeune Pucelle, Ye Banks And Braes. Sacred. Score. 26 pages. GIA Publications - Digital #9137. Published by GIA Publications - Digital
This useful volume contains short pieces based on melodies from around the world. These tunes and their accompanying texts have enjoyed wide popularity and usage in worship in many denominations. William McNair's miniatures may be used as preludes to the liturgy, as a way to teach a tune to a congregation, as an intonation or introduction before singing, or as an interlude between stanzas.
Contents: ARGENTINA Canto de esperanza, May the God of Hope Go with Us and Song of Hope ? CANTAI AO SENHOR Cantad al Senor, O Sing to the Lord and Sing Praise to the Lord ? CHEREPONI Jesu, Jesu ? HE CAME DOWN ? KALINGA In the Heavens Shone a Star ? KAS DZIEDAJA By the Babylonian Rivers, In the Darkness of the Morning and Once We Sang and Danced with Gladness ? KELVINGROVE The Summons and Will You Come and Follow Me ? KWAKE YESU NASIMAMA Here on Jesus Christ I Will Stand ? NYANYIKANLAH NYANYIAN BARU Hallelujah! Sing Praise to Your Creator ? STAR OF THE COUNTY DOWN Canticle of the Turning and My Soul Cries Out with a Joyful Shout ? UNE JEUNE PUCELLE ',Twas in the Moon of Wintertime ? YE BANKS AND BRAES We Cannot Measure How You Heal
$16.00
15.35 €
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Orgue
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William McNair
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Global Song Preludes and Intonations
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GIA Publications - Digital
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SheetMusicPlus
Romanza and Scherzo for solo Bass Trombone and Piano
Trombone basse et Piano
Piano Accompaniment, Bass Trombone and Piano - Advanced - Digital Download Composed b…
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Piano Accompaniment, Bass Trombone and Piano - Advanced - Digital Download Composed by Pierce, Alan. 21st Century, Romantic Period, Contemporary Classical, Post-Romantic. Solo Part. 31 pages. Published by Cherry Classics Music
My first season with the Oregon Symphony was 1962-1963. I was so excited when I was told that I was accepted into the Portland Symphony (now Oregon Symphony), I danced and jumped up and down. I can still see myself. Its was like winning the Powerball. I was only 17 years old. What is equally amazing is that 45 years later I retired from a career that very few people can ever experience. I was bass trombonist my first year in the Oregon Symphony and was principal trombonist my third year. I also traveled with the New York Metropolitan Opera National company for 84 weeks as principal trombonist and was bass trombonist of the Portland Opera for 18 years. I played in the Peter Britt Orchestra for two seasons and also in the Anchorage, AK. music festival. I was a scholarship winner to Tanglewood in Lenox, Mass. and the National Music Camp in Interlochen, Michigan. I was privileged to perform with Leopold Stowkowski and Erik Leinsdorf. None of this would have been possible without my early training with the Portland, Youth Philharmonic under the leadership of maestro Jacob Avshalomov.
I have met many famous people and have played the world's greatest music. The Oregon Symphony music directors and conductors have been magnificent and have each brought many special talents to the orchestra. I remember special concerts featuring Jack Benny, Danny Kaye, Isaac Stern, Leonard Rose, and many others.
During my time in the Oregon Symphony I developed a hobby of making batons for some of the conductors who visited our orchestra. Most recently, I made batons for Itzhak Perlman, James DePreist, Carlos Kalmar, Riccardo Mutti, Murry Sidlin, Hannu Lintu, Karel Mark Chichon,
Andre Watts, and many others.
Since establishing the Alan Pierce Piano Service in 1976, I have tuned pianos for the Oregon Symphony, Andre Watts, Lawrence Leighton Smith, James DePreist, Murry Sidlin, Norman Leyden as well as for many churches, schools and prominent piano teachers. Most recently I tuned the piano in the home of world famous Janet Guggenheim. One of my most special memories was an all expense paid trip to Scottsdale, Arizona to tune the piano of a prominent surgeon. While in Arizona, I had the chance to spend time with the late James DePreist who had a home in the area. For two summers, I also served as piano technician for the Sunriver Music Festival I am currently the president of the Reno chapter of the Piano Technicians Guild.
Most recently I got to meet Geoge Curran, bass trombonist of the New York Philharmonic. My wife and I traveled two times to hear him perform my Romanza and Scherzo for bass trombone and piano. What a thrill to hear a world famous trombonist perform my music. I am very honored that George Curran recorded my music on his latest CD. (Vital Signs)
$20.00
19.18 €
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Trombone basse et Piano
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Pierce, Alan
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Romanza and Scherzo for solo Bass Trombone and Piano
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Cherry Classics Music
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SheetMusicPlus
Renaissance Solos for Mandolin
Mandoline
By John Holenko. For Mandolin. Early Music/Renaissance. 64 pages. Published by Mel Bay Pub…
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By John Holenko. For Mandolin. Early Music/Renaissance. 64 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609742959. Most of the music in this book comes from editions or manuscripts from England in the late 1500ICOs. There are also a few French pieces. The cittern was popular in Italy, England and France. Aside from various tunings, there were two main kinds of instruments being played during the 16th and 17th centuries: the 4 course (four sets of doubled strings), and the 6 course cittern with several editions of music to go along with both. The pieces I have chosen for this book were all written for the 4 course instrument and fall into three main categories: dance music, song arrangements and free pieces. The free pieces are basically preludes that explore the melodic range of the instrument. As the title suggests these pieces can be played very freely and need not have a very strict tempo. The dance pieces are not really meant to be danced to, but rather take their form and rhythm from the popular court dances of the time. These can be played with a wide range of overall tempo, but once a tempo is chosen, should be strictly adhered to. The song arrangements are settings of popular songs of the time as well as more formal vocal settings. Care should be taken in making the melody clear and singing. Since the range of the cittern and mandolin are the same, John Holenko has kept the melodies intact. Because of the difference in tuning however, the voicing of the harmonies have been changed so as to fit on the mandolin.
$14.99
14.38 €
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Mandoline
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John Holenko
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Renaissance Solos for Mandolin
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Tientos
Guitare
Composed by Traditional. Arranged by Richard Hirsch. Folk, Instructional, Multicultu…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Instructional, Multicultural, Traditional, World. Individual part. 8 pages. Richard Hirsch #222095. Published by Richard Hirsch
An arrangement of the Flamenco style (palo) Tientos for solo acoustic guitar. The piece is based on traditional themes for the Tientos that I have expanded and elaborated on to weave together a self-contained composition that lies somewhere between Brahms? Hungarian Dances and Dvorak?s Slavic Dances. The composition is inspired by my studies with Juan Gonz?lez ?Triguito? in Madrid in the late 1960s. The Tientos belongs to the Tango family of Flamenco styles and is a slow majestic Flamenco rhythm that can reach great emotional depth in the hands of skilled guitarists. The Tientos is notated in standard 4/4 measures that although seemly simple can be deceptively complex because of the nearly inexhaustible possibilities for rhythmic variation. Lots of tapping can be found in the notation together with melody and chords, but also alone at rests which I leave in the notation. The tapping is perhaps a vestige of the African origin attributed to the Tango family of Flamenco palos. The arrangement ends with a finale (macho) that moves from the Tientos through a few bars of Tango to a finish in Rumba Gitana, the fastest and liveliest member of the Tango family.The Tientos is played in a Phrygian modal that moves from D minor through C and B-flat to A or A7. This variant of the so-called Andalusian cadence is typical for gitano Flamenco palos.The piece can be played by students of Flamenco guitar at the intermediate to advanced levels and contains many essential elements of serious (jondo) Flamenco guitar playing.
$4.99
4.79 €
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Guitare
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Traditional
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Richard Hirsch
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Tientos
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Richard Hirsch
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SheetMusicPlus
Cello and Piano String Sampler Sheet Music
Violoncelle, Piano
Piano Accompaniment, Cello - Early Intermediate - Digital Download Arranged by Robin …
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Piano Accompaniment, Cello - Early Intermediate - Digital Download Arranged by Robin Kay Deverich. 255 pages. Published by Global Music School String Publications
This combined version of the of the PianoAccompaniment and Cello Online String Sampler Cello Sheet Music is a fun and easy way to activelylearn, study and play beautiful cello music from a wide variety of styles anderas. 54 pieces are featured, representing music history periods, cultures andstyles such as Medieval, Renaissance, Baroque, Classical, Romantic, 20thCentury, Fiddle, Klezmer, Gypsy, Chinese, Greek, Carnatic, Arabic, Mariachi,Ragtime and Blues. These arrangements have been simplified for advancedbeginners to intermediate players, and include a representative sampling ofmost major forms of string music such as concertos, symphonies, sonatas,quartets and trios. As an added bonus, sound files of each piece and a studyguide are currently available on the website CelloOnline.com* as a self-guidedclass specifically designed to accompany this music: https://www.celloonline.com/stringclass.html The studyguide explains the history and musical form of the selected pieces, andincludes cello technique tips for each piece of music. Let the music begin!
*No guarantees are made that these sound files and websitewill be available indefinitely.
Pieces include: Columba aspexit by Hildegard of Bingen; Sixth Royal Estampie from Chansonnier du Roy; Helas Madame; Kemp?s Jigg; Fantasia by Lupo; Minuet from The Fiddle New Model?d by Crome; Rondeau by Purcell; Hornpipe from Water Music by Handel; La Folia medley by Marais, Corelli, and Vivaldi; Double Violin Concerto in A Minor, Op. 3, No. 8, 1st movement by Vivaldi; Prelude from Cello Suite I in G Major by Bach; Allegro from Brandenburg Concerto No. 5 by Bach; Kyrie from Messa a 4 con violini by Cazzati; Medley: He Shall Feed His Flock Like a Shepherd and Hallelujah Chorus from Messiah by Handel; Arioso from Cantata No.156 by Bach; Ave Verum Corpus, K. 618 by Mozart; Adagio from Violin Concerto No. 3 in G by Mozart; Andante from String Quartet No. 13 in Am by Schubert; Andante from Emperor Quartet in C major by Haydn; Surprise Symphony No. 94, 2nd movement by Haydn; Pastoral Symphony No. 6, 1st and 5th movements by Beethoven; Hungarian Dance No. 5 by Brahms; The Moldau from Ma Vlast by Smetana; Halling from 25 Norwegian Folksongs and Dances by Grieg; Emperor Waltz by Strauss; Vieille Chanson by Viardot; Andante from Violin Concerto in E Minor by Mendelssohn; Allegro and Adagio from Cello Concerto in B minor by Dvorak; Notturno from String Quartet No. 2 in D major by Borodin; Elegy Op. 44 for Viola and Piano by Glazunov; Barcarolla from Sonata in Bb for Viola and Piano by Vieuxtemps; Ave Maria from a theme by J.S. Bach by Gounod/Bach; Sicilienne Op. 78 for cello and piano by Faur?; Meditation from Tha?s by Massenet; Habanera from Carmen by Bizet; Reed Flutes from The Nutcracker Suite by Tchaikovsky; Overture from Pulcinella Ballet by Stravinsky; Moderato from Sonata No. 1 in G Major by Gallo; Assez vif from String Quartet in F Major by Ravel; Sehr langsam from 4 Pieces, Op. 7 by Webern; Simple Gifts melody by Brackett; Braul from Romanian Folk Dances by Bartok; The Basso-Gypsy Traditional; Odessa Bulgarish-Klezmer Traditional; Varys Hasapikos-Greek Traditional; El Jarabe Tapatio-Mexican Traditional; Jasmine Flower-Chinese Traditional; Sara Sara-Tyāgarāja (Carnatic); Longa Nahawand by Bey (Arabic/Ottoman); Irish Washerwoman-Irish Traditional; Fiddle Medley: Bile Them Cabbage Down, Devil?s Dream and Shuffle-Fiddle Traditional; The Ragtime Violin by Berlin; The Castle Walk by Europe & Dabney; St. Louis Blues by Handy.
$5.99
5.75 €
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Violoncelle, Piano
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Robin Kay Deverich
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Cello and Piano String Sampler Sheet Music
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Global Music School String Publications
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SheetMusicPlus
Fandango de Huelva
Guitare
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditiona…
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, M?laga, Almer?a) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a comp?s, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the comp?s falling on the third beat of the first 4/4 measure. The first accented beat in the comp?s falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms? Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan Gonz?lez ?Triguito? in Madrid in the late 1960?s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mes?n de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzap?a, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzap?a and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99
4.79 €
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Guitare
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Traditional
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Richard Hirsch
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Fandango de Huelva
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Richard Hirsch
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SheetMusicPlus
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