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--INSTRUMENTS--
ACCORDEON
ALTO
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
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LIVRES
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OCARINA
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ORGUE
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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
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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
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TROMBONE
TROMPETTE
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Comme toi
SheetMusicPlus
Partitions à imprimer
60 partitions trouvées
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Jacques Leguerney: Heureux qui, comme Ulysse for voice and piano
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Piano, Voix
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INTERMÉDIAIRE
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Jacques Leguerney
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Jacques Leguerney: Heureux qui
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.533325 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 6 pages. Musik Fabrik Music Publishin...
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Piano,Vocal,Voice - Level 3 - SKU: A0.533325 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 6 pages. Musik Fabrik Music Publishing #2343155. Published by Musik Fabrik Music Publishing (A0.533325). A setting by Leguerney of a poem by Joachim de Bellay: Range is Eb3-G2Heureux qui, comme Ulysse, a fait un beau voyage,Ou comme cestuy-làqui conquit la toison,Et puis est retourné, plein d'usage et raison,Vivre entre ses parents le reste de son âge !Quand reverrai-je, hélas, de mon petit villageFumer la cheminée, et en quelle saisonReverrai-je le clos de ma pauvre maison,Qui m'est une province, et beaucoup davantage ?Plus me plaît le séjour qu'ont bâti mes aïeux,Que des palais Romains le front audacieux,Plus que le marbre dur me plaît l'ardoise fine :Plus mon Loire gaulois, que le Tibre latin,Plus mon petit Liré, que le mont Palatin,Et plus que l'air marin la doulceur angevine.
$7.74
Chanson de la Reine : Marie-Antoinette à la Consiergerie
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Paul Wehage
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Chanson de la Reine : Marie-An
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Musik Fabrik Music Publishing
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SheetMusicPlus
Flute,Piano,Voice - Level 3 - SKU: A0.1278544 Composed by Paul Wehage. 21st Century,Chamber,Classical,Historic. 12 pages. Musik Fabrik Music Publishing ...
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Flute,Piano,Voice - Level 3 - SKU: A0.1278544 Composed by Paul Wehage. 21st Century,Chamber,Classical,Historic. 12 pages. Musik Fabrik Music Publishing #870225. Published by Musik Fabrik Music Publishing (A0.1278544). A setting of a text by the French poet P.A. Dupré-Laverré. Marie-Antoinette sings the night before her execution in her cell at the Consiergerie.Si vous voulez ma mort, ne cherchez pas d'excuseLa voix du peuple est làainsi qu’une arme blancheCe n’est que vous ici et non moi qu’on abuse,Et par ce goût du sang que l’on veut que j’étanche.Que vous ai-je donc fait si ce n'est existerEn ce monde où plus rien ne justifie qu'on reste,Quand la mort réjouit ceux qui voient affûterCette lame qui glisse sur le cou, là! si preste.Elle glissera sur moi comme elle glissa sur Louis,Au mitan de l'hiver. Moi, j’attendrai l'automne :Le feuillage rougi des arbres aux TuileriesSe teintera alors du sang que je vous donne.P.A. Dupré-Laverré in Une Reine àpart.
$11.95
Comme Toi
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Jean-Jacques Goldman
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YOMusic2020
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Comme Toi
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Trực Phạm Trần Trung
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1509698 By Jean-Jacques Goldman. By Jean-Jacques Goldman. Arranged by YOMusic2020. 21st Century,New Age,Pop,Romantic Per...
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Solo Guitar - Level 3 - SKU: A0.1509698 By Jean-Jacques Goldman. By Jean-Jacques Goldman. Arranged by YOMusic2020. 21st Century,New Age,Pop,Romantic Period,Singer/Songwriter. Individual part. 5 pages. Trực Phạm Trần Trung #1084946. Published by Trực Phạm Trần Trung (A0.1509698).
$5.99
comme Toi
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Jean-Jacques Goldman
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YOMusic2020
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comme Toi
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Trực Phạm Trần Trung
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1511796 By Jean-Jacques Goldman. By Jean-Jacques Goldman. Arranged by YOMusic2020. 21st Century,New Age,Pop,Romantic Per...
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Solo Guitar - Level 3 - SKU: A0.1511796 By Jean-Jacques Goldman. By Jean-Jacques Goldman. Arranged by YOMusic2020. 21st Century,New Age,Pop,Romantic Period,Singer/Songwriter. Individual part. 5 pages. Trực Phạm Trần Trung #1084929. Published by Trực Phạm Trần Trung (A0.1511796).
$5.99
Sonate Jason, qui emporte la Toison d'or
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1 Piano, 4 mains
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INTERMÉDIAIRE
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Classique
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Carl Ditters von Dittersdorf
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Allan Badley
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Sonate Jason, qui emporte la T
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Artaria Editions
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SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.1485603 Composed by Carl Ditters von Dittersdorf. Arranged by Allan Badley. Classical. Score. 75 pages. A...
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1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.1485603 Composed by Carl Ditters von Dittersdorf. Arranged by Allan Badley. Classical. Score. 75 pages. Artaria Editions #1062669. Published by Artaria Editions (A0.1485603). Unlike the narratives concerning the death of Hercules, and his transformation into a god, and the dispute between Ajax and Ulysses over the weapons of Achilles, the story of Jason's capture of the Golden Fleece provided Dittersdorf with few opportunities for genuine pictorial writing. His explanation for the piano second theme in the first movement seems a little glib – it is, after all, a favourite device of his in non-programmatic works as well but Medea's beautiful soliloquy in the second movement, assigned here to the primo part and in all probability to a wind solo in the original, is as effective as anything in the extant orchestral scores of the Ovid symphonies. His choice of a Ciaconna for the Finale is not only highly appropriate given the heroic theme of the work, but also neatly solves the problem of how to end the symphony unconventionally in the absence of a transformation scene of the kind found in the other symphonies. Yet again, one marvels at Dittersdorf 's powerful creative imagination. The parts are marked carefully although Dittersdorf is not over-detailed in his instructions to the performers. The occasional copying errors provide insufficient evidence to determine whether the parts were copied from a piano score or prepared directly from the composer's full orchestral score. Little editorial work has been necessary to prepare this edition. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Like most eighteenth-century sources, the manuscript is at times inconsistent in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets.  Allan Badley.
$53.00
Comme une histoire...
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Piano seul
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FACILE
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Thomas Naszalyi
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Comme une histoire...
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Thomas Naszalyi
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1214082 Composed by Thomas Naszalyi. Classical,Contemporary,Romantic Period. Score. 3 pages. Thomas Naszalyi #811278. Pub...
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Piano Solo - Level 2 - SKU: A0.1214082 Composed by Thomas Naszalyi. Classical,Contemporary,Romantic Period. Score. 3 pages. Thomas Naszalyi #811278. Published by Thomas Naszalyi (A0.1214082). Petite valse pour piano solo, composée par Thomas Naszalyi, le 10 avril 2023.
$1.99
Une allee au bois, Comme une etoile
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Guitare
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INTERMÉDIAIRE
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David Gaudreau
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Une allee au bois, Comme une e
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Les Productions d'OZ - Digital
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SheetMusicPlus
By David Gaudreau. For solo guitar. Level 3. Published by Les Productions d'OZ - Digital ...
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By David Gaudreau. For solo guitar. Level 3. Published by Les Productions d'OZ - Digital
$6.95
Thierry Pélicant: Concerto for Bassoon and Orchestra, piano reduction and solo part
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Basson, Piano (duo)
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AVANCÉ
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Contemporain
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Bassoon,Piano - Level 5 - SKU: A0.534689 Composed by Thierry Pélicant. 20th Century,Concert,Contemporary. Score and part. 25 pages. Musik Fabrik Musi...
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Bassoon,Piano - Level 5 - SKU: A0.534689 Composed by Thierry Pélicant. 20th Century,Concert,Contemporary. Score and part. 25 pages. Musik Fabrik Music Publishing #6230963. Published by Musik Fabrik Music Publishing (A0.534689). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the piano reduction and solo part. The score is also available for sale. The parts are on rental from the publisher. Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, composed with his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée, (quintet for oboe and strings), Sextuor d’été, , and Milonga, (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$19.95
Thierry Pélicant: Concerto for Bassoon and Orchestra,orchestral score
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music P...
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Chamber Orchestra - Level 5 - SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music Publishing #6230969. Published by Musik Fabrik Music Publishing (A0.534690). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the orchestral score only. The piano reduction and solo part. is also available for sale. The parts are on rental from the publisher. Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, composed with his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée, (quintet for oboe and strings), Sextuor d’été, , and Milonga, (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ..
$29.95
Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik...
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Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Orchestre
#
AVANCÉ
#
Thierry Pélicant
#
Thierry Pélicant: Conce
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik ...
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Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburib&aac
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Pub...
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Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio LuÃs de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio LuÃs de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première Å“uvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses Å“uvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là , certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des Å“uvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses Å“uvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'Å“uvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
CC115ORC - Laisse-moi être ce jour dans ta vie
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Orchestre
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INTERMÉDIAIRE
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Carl Van Pevenage
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Carl Van Pevenage
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CC115ORC - Laisse-moi êt
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Carl Van Pevenage
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1167924 By Carl Van Pevenage. By Carl Van Pevenage. Arranged by Carl Van Pevenage. 20th Century,Broadway,Film/TV,Mult...
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Full Orchestra - Level 3 - SKU: A0.1167924 By Carl Van Pevenage. By Carl Van Pevenage. Arranged by Carl Van Pevenage. 20th Century,Broadway,Film/TV,Multicultural,Musical/Show,Romantic Period,World. Score and parts. 95 pages. Carl Van Pevenage #768280. Published by Carl Van Pevenage (A0.1167924). After 15 years finally the Orchestra version is ready. A relief! I hope you enjoy it. The verses and the intermezzo are made based on a poem by Yoan Letend which with a few changes fits on the notes. The chorus has no lyrics.  **************************************** Ce jour dans ta vie Lorsque le jour se lève, doucementTu t’éveilles de ton long sommeilTu ouvres ta fenêtre en regardantLe monde se réveiller grâce àl’éclat du soleilAlors, c’est un nouveau matin pour toiEt tu espères que tes rêves vont se réaliserEn préparant ton cartable, tu penses déjàÀ tout ce qui te fait vivre et aimerPuis peut être, tu perds un peu de tempsÀ écouter dehors le chants des fleurs et des oiseauxEt àcet instant tu réalises que tout est importantMême si ce ne sont que des reflets dans l’eauLe monde bascule trop vers la violenceQue les gens ne savent plus vivre en paixIls enchaînent àdes fers l’enfanceMais toi tu ne dois avoir aucun regretDu fond de mon esprit, j’écris ces motsJ’espère qu’ils résonneront plus vite que le sonJ’ai demandé sa plume àmon pierrotPour écrire un hymne que l’on chante àl’unissonC’est un peu de moi qui s’envoleAvec un zeste de folie et surtout de magieAlors comme la fleur a sa corolleLaisse moi être ce jour dans ta vieYoan Letend
$19.99
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à -dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Pierrot, or Harlequin?
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Stephen Goss
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Pierrot, or Harlequin?
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Advanced - SKU: ZY.DO-1555 Composed by Stephen Goss. Score. 15 pages. Les Editions Doberman-Yppan (digital) #DO 1555. Published by Les Editions...
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Guitar - Advanced - SKU: ZY.DO-1555 Composed by Stephen Goss. Score. 15 pages. Les Editions Doberman-Yppan (digital) #DO 1555. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1555). Pierrot, or Harlequin? (2023) is based on stock characters from the Italian commedia dell’arte tradition. Columbina has a choice of partner – Pierrot, or Harlequin? Or maybe she will select neither of them. In this set of triple variations, Pierrot and Harlequin compete for Columbina's attention and favour. Pierrot is deep, quiet, thoughtful, and loving, but sometimes melancholic. Harlequin is light-hearted, extrovert, and fun to be with, but somewhat shallow and brash. Columbina herself is coquettish, impulsive, and unpredictable. How will the story end between these imperfect characters? The performer gets to select one of three possible endings as the piece nears its conclusion.Pierrot, or Harlequin? was commissioned by the International Guitar Festival Homenaje 2023. The premiere was given by Giacomo Susani at Barco Teatro, Padova, Italy, on 10th November 2023.Pierrot, or Harlequin? (2023) est basé sur des personnages de la tradition italienne de la commedia dell’arte. Columbina a le choix entre deux partenaires – Pierrot ou Harlequin? Ou peut-être ne choisira-t-elle aucun des deux. Dans cette série de variations en trio, Pierrot et Harlequin rivalisent pour l'attention et les faveurs de Columbina. Pierrot est profond, calme, réfléchi et aimant, mais parfois mélancolique. Harlequin est enjoué, extraverti, amusant à être avec, mais quelque peu superficiel et effronté. Columbina elle-même est coquette, impulsive et imprévisible. Comment se terminera l'histoire entre ces personnages imparfaits? Le performer a le choix entre trois fins possibles alors que la pièce approche de sa conclusion.Pierrot, or Harlequin? a été commandé par le Festival International de Guitare Homenaje 2023. La première a été donnée par Giacomo Susani au Barco Teatro, Padoue, Italie, le 10 novembre 2023.
$9.95
Renaissance Guitar Music for Fingerstyle Ukulele
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Ukulele
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INTERMÉDIAIRE
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Classique
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Renaissance
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Renaissance Guitar Music for F
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate - SKU: M0.31089MEB Classical. Ebook and online audio. 77 pages. Mel Bay Publications - Digital Sheet Music #31089MEB. Published by...
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Guitar - Intermediate - SKU: M0.31089MEB Classical. Ebook and online audio. 77 pages. Mel Bay Publications - Digital Sheet Music #31089MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31089MEB). ISBN 9781513477619. 8.75X11.75 inches.This book presents 37 pieces of Renaissance guitar music transcribed for solo fingerstyle ukulele together with the author’s recordings of every transcription. Moreover, a generous introduction provides a brief history of the Renaissance guitar, tips on period ornamentation and musicianship, recommended recordings, and invaluable resources for further research of your own.Throughout Europe, the Renaissance guitar was a popular instrument in the middle of the sixteenth century. Its composers left us a treasure-trove of music, from rustic dances to chansons and elaborate fantasias. Five-hundred years later, this music fits beautifully on the Renaissance guitar’s musical descendant, the ukulele.The Renaissance guitar and the ukulele share an almost identical tuning. As the transcriptions in this book are written in standard notation and tablature, any type of ukulele, from soprano to baritone—as well as the top four strings of the guitar— can be used to play them. Most of the pieces are in standard gCEA or GCEA tuning; the seven pieces in the second section of the book, however, require low-G tuning to render the counterpoint as written. It’s also possible for guitar and baritone uke players to read the tablature provided. The music will sound a perfect 4th lower than the notation, but as there was no standard pitch in the time of the Renaissance guitar, modern players should feel no obligation to play this music at fixed pitch. If you wish to read from the tablature and sound in the same key as the notation for ensemble purposes, guitar and baritone uke players merely need to place a capo at the fifth fret. With a certain sense of historical irony, the music of the Renaissance guitar is here reborn on modern fretted instruments.
Song List
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Branle
Allemande
Branle
Quand i?entens le perdu temps
Gaillarde
Tourdion
Bransle De Poictou
Branle
Bransle Haulbaroys
Chi dira mai
Villanesque
Bransle De Poictou
Almande tournée
Vous estes la personne
Branle
Pavane
Branle de Bourgogne I
Branle de Bourgogne III
Gaillarde
Almande le Pied de cheval
Branle gay
Le Branle precedent plus diminue
Gaillarde
Gaillarde
Pimontoyse
Lo, what it is to love
Il estoit une fillette en basse-dance
Ma bouche rit
Contreclare
La Seraphine
Prelude I
Prelude Ii
Fantasie V
Fantasia
Fantasie III
Canon
Fantasie I
$17.99
6 Pieces of Joy an Melancholy
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Yorgos Nousis
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6 Pieces of Joy an Melancholy
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - SKU: ZY.DO-1546 Composed by Yorgos Nousis. Score. 9 pages. Les Editions Doberman-Yppan (digital) #DO 1546. Published by Les Editions Doberman-Y...
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Guitar - SKU: ZY.DO-1546 Composed by Yorgos Nousis. Score. 9 pages. Les Editions Doberman-Yppan (digital) #DO 1546. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1546). SIX PIECES OF JOY AND MELANCHOLY is a collection of short pieces with a more melodic and in some cases rhythmic character. The pieces were composed individually for different occasions, but they work together somehow and offer the performer and the audience a roller-coaster sensation through the constant change of mood. Danceuphoria is the opening piece, an uneven, powerful dance which immediately creates an uplifting mood. Melodic Sorrow is a piece dedicated to the memory of my father, Konstantinos Nousis. It's one of the first pieces I wrote for guitar as a teenager. Here you can read an evolved version of that first piece which keeps the simplicity of the primary inspiration.Lifeness is an ode to life piece full of rich colors, melodies and harmonies. Meditation, originally written as the theme music for a Reiki Yoga YouTube channel, is a very slow and meditative piece with short melodic legato lines. Hope evokes warmer feelings. A simplistic piece based on natural harmonies that calms and soothes us.Finally, Cascading Waltz was chosen as the final piece, because it can be freely interpreted by any performer and gives the opportunity for diverse crescendos and accelerandos.The pieces can complement the repertoire of young students as well as professional guitarists who seek a modern yet melodic approach to the guitar.SIX PIECES OF JOY AND MELANCHOLY est une collection de courtes pièces au caractère plus mélodique et, dans certains cas, rythmique. Les pièces ont été composées individuellement pour des occasions différentes, mais elles fonctionnent ensemble d'une certaine manière et offrent à l'interprète et au public une sensation de montagnes russes grâce au changement constant d'humeur. Danceuphoria est la pièce d'ouverture, une danse inégale et puissante qui crée immédiatement une atmosphère exaltante. Melodic Sorrow est une pièce dédiée à la mémoire de mon père, Konstantinos Nousis. C'est l'une des premières pièces que j'ai écrites pour la guitare lorsque j'étais adolescent. Vous pouvez lire ici une version évoluée de cette première pièce qui conserve la simplicité de l'inspiration première.Lifeness est une ode à la vie, un morceau plein de couleurs, de mélodies et d'harmonies. Meditation, écrit à l'origine comme thème musical pour une chaîne YouTube de Reiki Yoga, est un morceau très lent et méditatif avec de courtes lignes mélodiques legato. Hope évoque des sentiments plus chaleureux. Il s'agit d'un morceau simpliste basé sur des harmonies naturelles qui nous calme et nous apaise.Enfin, Cascading Waltz a été choisie comme pièce finale, car elle peut être interprétée librement par n'importe quel interprète et donne l'occasion de divers crescendos et accelerandos.Les morceaux peuvent compléter le répertoire des jeunes étudiants ainsi que des guitaristes professionnels qui recherchent une approche moderne et mélodique de la guitare.1. Danceuphoria2. Melodic Sorrow3. Lifeness4. Meditation5. Hope6. Cascading Waltz.
$5.95
Si T'es Pas Là
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Cédric Hermand
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Cédric Hermand
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Si T'es Pas Là
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ArtIA
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SheetMusicPlus
SKU: A0.1415966 By Cédric Hermand. By Cédric Hermand. Arranged by Cédric Hermand. Multicultural,Romantic Period,Traditional,World. Full Perform...
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SKU: A0.1415966 By Cédric Hermand. By Cédric Hermand. Arranged by Cédric Hermand. Multicultural,Romantic Period,Traditional,World. Full Performance. Duration 269. ArtIA #997661. Published by ArtIA (A0.1415966). Dans le clip poignant de Si t'es pas là, l'artiste nous plonge dans un univers visuel et émotionnel profondément touchant, où la mélodie et les paroles se tissent ensemble pour raconter une histoire d'amour, de perte et de nostalgie. Dès les premiers accords, la chanson captive par sa douceur mélancolique, portée par une instrumentation délicate qui souligne la vulnérabilité et l'intensité du message. Si t'es pas làest plus qu'un simple clip musical ; c'est une expérience émotionnelle immersive qui invite les spectateurs àréfléchir sur leurs propres expériences de l'amour et de la perte. Avec sa réalisation artistique impeccable et sa narration visuelle captivante, ce clip se dresse comme un monument àla beauté mélancolique de l'amour éternel, et àla quête humaine universelle pour la connexion et le sens dans un monde en perpétuel changement.
$1.99
Gloire Alléluia, Il Est Vivant!
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Piano, Voix et Guitare
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DÉBUTANT
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CHOIR
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Dan Bradley
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Gloire Alléluia, Il Est
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Mare Dan Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.1399094 By CHOIR. By Dan Bradley. Arranged by Dan Bradley. Christian,Easter,Praise & Worship,Religious,Spir...
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Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.1399094 By CHOIR. By Dan Bradley. Arranged by Dan Bradley. Christian,Easter,Praise & Worship,Religious,Spiritual. Score. 3 pages. Mare Dan Music #982388. Published by Mare Dan Music (A0.1399094). En Francais Gloire Alléluia, Il Est Vivant! available also in Spanish Gloria Aleluya, ¡Está Vivo! and in english Glory Hallelujah He is Alive. Also available as solo, two parts, SAB and SATB. He Is Alive is perfect for Easter and Easter Season tells the story of the Women at the Tomb, The Road to Emmaus, Doubting Thomas. Come to one conclusion: He Is Alive! The music has a Hebrew modality and uses rhythms like a hora. Fun and dramatic to sing and based on solid scriptures. Can provide many wonderful lessons in Faith.Il Est Vivant est parfait pour la période de Pâques et raconte l'histoire des femmes au tombeau, du chemin d'Emmaüs et de Thomas le Douteux. Une seule conclusion s'impose : Il est vivant ! Cette chanson est également disponible en Solo, Two Part, SAB et SATB, ainsi qu'en espagnol : Gloria Aleluya, Esta Vivo ! et en français : Gloire Alléluia, Il Est Vivant.La musique a une modalité hébraïque et utilise des rythmes comme la hora. Le chant est amusant et dramatique et repose sur des écritures solides. Elle peut offrir de merveilleuses leçons de foi.
$2.49
Gloire Alléluia, Il Est Vivant!
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Chorale 2 parties
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FACILE
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French
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Gloire Alléluia, Il Est
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Mare Dan Music
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SheetMusicPlus
Choral Choir,Choral (2-Part) - Level 2 - SKU: A0.1399600 By French. By Dan Bradley. Christian,Easter,Praise & Worship,Religious,Sacred. 6 pages. Mare Da...
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Choral Choir,Choral (2-Part) - Level 2 - SKU: A0.1399600 By French. By Dan Bradley. Christian,Easter,Praise & Worship,Religious,Sacred. 6 pages. Mare Dan Music #982892. Published by Mare Dan Music (A0.1399600). En Francais Gloire Alléluia, Il Est Vivant! available also in Spanish: Gloria Aleluya, ¡Está Vivo! and in English: Glory Hallelujah He is Alive. Also available as solo, two parts, SAB and SATB. He Is Alive is perfect for Easter and Easter Season tells the story of the Women at the Tomb, The Road to Emmaus, Doubting Thomas. They all come to one conclusion: He Is Alive! The music has a Hebrew modality and uses rhythms like a hora. Fun and dramatic to sing and based on solid scriptures. Can provide many wonderful lessons in Faith.Il Est Vivant est parfait pour la période de Pâques et raconte l'histoire des femmes au tombeau, du chemin d'Emmaüs et de Thomas le Douteux. Une seule conclusion s'impose : Il est vivant ! Cette chanson est également disponible en Solo, Two Part, SAB et SATB, ainsi qu'en espagnol : Gloria Aleluya, Esta Vivo ! et en français : Gloire Alléluia, Il Est Vivant.La musique a une modalité hébraïque et utilise des rythmes comme la hora. Le chant est amusant et dramatique et repose sur des écritures solides. Elle peut offrir de merveilleuses leçons de foi.
$2.49
Gloire Alléluia, Il Est Vivant!
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Chorale 3 parties
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DÉBUTANT
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French
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Gloire Alléluia, Il Est
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Mare Dan Music
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 1 - SKU: A0.1399651 By French. By Dan Bradley. Christian,Easter,Praise & Worship,Religious,Spiritual. 7 pages. Mare Da...
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Choral Choir,Choral (SAB) - Level 1 - SKU: A0.1399651 By French. By Dan Bradley. Christian,Easter,Praise & Worship,Religious,Spiritual. 7 pages. Mare Dan Music #982926. Published by Mare Dan Music (A0.1399651). En Francais Gloire Alléluia, Il Est Vivant! available also in Spanish Gloria Aleluya, ¡Está Vivo! and in english Glory Hallelujah He is Alive. Also available as solo, two parts, SAB and SATB. He Is Alive is perfect for Easter and Easter Season tells the story of the Women at the Tomb, The Road to Emmaus, Doubting Thomas. Come to one conclusion: He Is Alive! The music has a Hebrew modality and uses rhythms like a hora. Fun and dramatic to sing and based on solid scriptures. Can provide many wonderful lessons in Faith.Il Est Vivant est parfait pour la période de Pâques et raconte l'histoire des femmes au tombeau, du chemin d'Emmaüs et de Thomas le Douteux. Une seule conclusion s'impose : Il est vivant ! Cette chanson est également disponible en Solo, Two Part, SAB et SATB, ainsi qu'en espagnol : Gloria Aleluya, Esta Vivo ! et en français : Gloire Alléluia, Il Est Vivant.La musique a une modalité hébraïque et utilise des rythmes comme la hora. Le chant est amusant et dramatique et repose sur des écritures solides. Elle peut offrir de merveilleuses leçons de foi.
$2.49
Gloire Alléluia, Il Est Vivant!
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Chorale SATB
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DÉBUTANT
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French
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Gloire Alléluia, Il Est
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Mare Dan Music
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 1 - SKU: A0.1399734 By French. By Dan Bradley. Christian,Easter,Praise & Worship,Religious,Spiritual. 8 pages. Mare D...
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Choral Choir,Choral (SATB) - Level 1 - SKU: A0.1399734 By French. By Dan Bradley. Christian,Easter,Praise & Worship,Religious,Spiritual. 8 pages. Mare Dan Music #983007. Published by Mare Dan Music (A0.1399734). En Francais Gloire Alléluia, Il Est Vivant! available also in Spanish: Gloria Aleluya, ¡Está Vivo! and in English: Glory Hallelujah He is Alive. Also available as solo, two parts, SAB and SATB. He Is Alive is perfect for Easter and Easter Season tells the story of the Women at the Tomb, The Road to Emmaus, Doubting Thomas. They all come to one conclusion: He Is Alive! The music has a Hebrew modality and uses rhythms like a hora. Fun and dramatic to sing and based on solid scriptures. Can provide many wonderful lessons in Faith.Il Est Vivant est parfait pour la période de Pâques et raconte l'histoire des femmes au tombeau, du chemin d'Emmaüs et de Thomas le Douteux. Une seule conclusion s'impose : Il est vivant ! Cette chanson est également disponible en Solo, Two Part, SAB et SATB, ainsi qu'en espagnol : Gloria Aleluya, Esta Vivo ! et en français : Gloire Alléluia, Il Est Vivant.La musique a une modalité hébraïque et utilise des rythmes comme la hora. Le chant est amusant et dramatique et repose sur des écritures solides. Elle peut offrir de merveilleuses leçons de foi.
$2.49
I Will Wait For You
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Adair/davidson
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John Fries
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I Will Wait For You
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.1157889 By Adair/davidson. By Jacques Demy, Michel Legrand, and Norman Gimbel. Arranged by John Fries. 20th Century,Fil...
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C Instrument - Level 4 - SKU: A0.1157889 By Adair/davidson. By Jacques Demy, Michel Legrand, and Norman Gimbel. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #758194. Published by John Fries (A0.1157889). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. I Will Wait for You is the English version of Je ne pourrai jamais vivre sans toi, a song from the French musical The Umbrellas of Cherbourg. It was nominated for the Academy Award for Best Song at the 38th Academy Awards held in 1966 and is a jazz standard.
$3.99
I Will Wait For You
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Adair/davidson
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John Fries
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I Will Wait For You
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1198930 By Adair/davidson. By Jacques Demy, Michel Legrand, and Norman Gimbel. Arranged by John Fries. 20th...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1198930 By Adair/davidson. By Jacques Demy, Michel Legrand, and Norman Gimbel. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Score. 2 pages. John Fries #798031. Published by John Fries (A0.1198930). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  I Will Wait for You is the English version of Je ne pourrai jamais vivre sans toi, a song from the French musical The Umbrellas of Cherbourg. It was nominated for the Academy Award for Best Song at the 38th Academy Awards held in 1966 and is a jazz standard.
$4.99
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