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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
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EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
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MANDOLINE
MARIMBA
OCARINA
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COMEDIES MUSICALES -…
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9
PIANO & CLAVIERS
GUITARES
VOIX
VENTS
Ensemble de Clarinettes
1
CUIVRES
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
CORDES
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Quatuor à cordes: 2 violons, alto, violoncelle
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4 Contrebasses
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Dialogue for Double Bass Quartet
Partitions à imprimer
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Dialogue for Double Bass Quartet
4 Contrebasses
String Quartet Double Bass,String Quartet - Level 4 - Digital Download SKU: A0.1367512
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String Quartet Double Bass,String Quartet - Level 4 - Digital Download SKU: A0.1367512 Composed by Richard Chiarappa. Arranged by Richard Chiarappa. 21st Century,Chamber,Classical. 15 pages. Richard J. Chiarappa #951857. Published by Richard J. Chiarappa (A0.1367512). An arrangement of the original Dialogue for Double Bass & Strings, that allows for advanced and moderate level double bass players to perform as an ensemble. This piece was requested by Susan Powell, DB teacher at the Hartt School in West Hartford, CT, for her DB students class. I composed the original piece for my advanced high school DB player in his senior year. There is also a version for DB and Piano, and recently for DB and Full Orchestra. It's a unique piece for your audience!
$40.00
37.31 €
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4 Contrebasses
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Richard Chiarappa
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Richard Chiarappa
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Dialogue for Double Bass Quartet
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Richard J. Chiarappa
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SheetMusicPlus
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 C…
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â or was rather the first to indicate them such as in his Sonata Pianâ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâs later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.73 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Giovanni Gabrieli
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James M
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Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged …
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Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â or was rather the first to indicate them such as in his Sonata Pianâ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâs later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo. www.jamesguthrie.com.
$47.95
44.73 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. A…
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String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. Jmsgu3 #3464715. Published by jmsgu3 (A0.549211). A musical monument: the first composition to employ dynamics. Instrumentation: 2 violins, 1 viola, 5 cellos 1 double bass. Arranged in two antiphonal choirs: I - string quartet, II - cello choir w/bass. The double bass part assumes low c extension; however, a non-extension bass part is included.Giovanni Gabrieli's Sonata Pian e Forte is essential as it represents the shift from the Renaissance to the Baroque period. It is part of his 1597 Sacrae symphoniae, which contains sixty-three choral and instrumental works, many in multi-choir formations. It is the first known composition in history to employ dynamics, with Gabrieli using specific notation to indicate instrumentation and experimenting with assembling massive instrumental forces into isolated groups separated by space. This innovation contributed heavily to the Baroque Concertato style and the development of the sonata, a musical form that came into general use toward the end of the sixteenth century. The structure of the piece is defined by the dialogue between two instrumental choirs, making it a key example of Gabrieli's influential contributions to the transition in musical style during his time.
$47.95
44.73 €
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Do…
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental parts: 2 pg. ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â or was rather the first to indicate them such as in his Sonata Pianâ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâs later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.73 €
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Gabrieli
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James M
#
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
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jmsgu3
#
SheetMusicPlus
Serenade | Schubert | String Quintet
Quintette à cordes: 2 violons, alto, violoncelle, basse
String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1248…
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String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1248418 Composed by Franz Schubert. Arranged by Milanov. Romantic Period,Wedding. 10 pages. Milanov #842934. Published by Milanov (A0.1248418). Serenade by Schubert for String Quartet. Easy Intermediate.Schubert's Serenata, also known as Ständchen or Serenade, is a sublime musical masterpiece that captures the essence of romantic longing and gentle serenading. With delicate melodies and evocative harmonies, Schubert creates an intimate dialogue between the singer and piano accompaniment, painting a vivid portrait of whispered emotions beneath a starry sky. The Serenata's tender vulnerability and timeless beauty speak to the universal power of music to convey the deepest sentiments of the human heart.
$15.99
14.92 €
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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Franz Schubert
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Milanov
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Serenade | Schubert | String Quintet
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Milanov
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SheetMusicPlus
Serenade | Schubert | String Quintet | Chords
Quintette à cordes: 2 violons, alto, violoncelle, basse
String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1248…
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String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1248417 Composed by Franz Schubert. Arranged by Milanov. Romantic Period,Wedding. 10 pages. Milanov #842932. Published by Milanov (A0.1248417). Serenade by Schubert for String Quartet with chords. Easy intermediate.Schubert's Serenata, also known as Ständchen or Serenade, is a sublime musical masterpiece that captures the essence of romantic longing and gentle serenading. With delicate melodies and evocative harmonies, Schubert creates an intimate dialogue between the singer and piano accompaniment, painting a vivid portrait of whispered emotions beneath a starry sky. The Serenata's tender vulnerability and timeless beauty speak to the universal power of music to convey the deepest sentiments of the human heart.
$15.99
14.92 €
#
Quintette à cordes: 2 violons, alto, violoncelle, basse
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Franz Schubert
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Milanov
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Serenade | Schubert | String Quintet | Chords
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Milanov
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â or was rather the first to indicate them such as in his Sonata Pianâ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâs later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.73 €
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Ensemble de Clarinettes
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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jmsgu3
#
SheetMusicPlus
Almost May Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Dow…
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, âAlmost Mayâ. Like springtime in the Northern Hemisphere, âAlmost Mayâ unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
23.31 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Heidi Savoie
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
La Vie En Rose
Piano Quartet Double Bass,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.12366…
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Piano Quartet Double Bass,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.1236696 By Edith Piaf. By Edith Piaf and Louis Guglielmi. Arranged by André Nusa. Jazz,Singer/Songwriter,Standards. 7 pages. Andre_Nusa #832217. Published by Andre_Nusa (A0.1236696). Immerse yourself in the timeless allure of Edith Piaf's La Vie en Rose with this captivating arrangement for violin, viola, double bass, and piano. Indulge in the romantic and soul-stirring melodies of this iconic French song as they intertwine harmoniously among these four exquisite instruments. The strings paint heartfelt and expressive melodies, while the piano adds depth, texture, and rhythmic intricacies to create a captivating tapestry of sound. The interplay between the instruments ignites a mesmerizing musical dialogue, allowing you to fully immerse yourself in the passionate essence of Piaf's composition.Whether performing for an audience or savoring the music in the comfort of your own space, this arrangement promises an unforgettable experience. Let the expressive melodies and harmonies of La Vie en Rose ignite your heart and soul, as the violin, viola, contrabass, and piano unite to breathe new life into this beloved.
$12.99
12.12 €
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Edith Piaf
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André Nusa
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La Vie En Rose
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Andre_Nusa
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SheetMusicPlus
La Vie En Rose
Piano Quartet Double Bass,Piano,Viola,Violin - Level 1 - Digital Download SKU: A0.12363…
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Piano Quartet Double Bass,Piano,Viola,Violin - Level 1 - Digital Download SKU: A0.1236394 By Edith Piaf. By Edith Piaf and Louis Guglielmi. Arranged by André Nusa. Jazz,Singer/Songwriter,Standards. 6 pages. Andre_Nusa #831910. Published by Andre_Nusa (A0.1236394). Immerse yourself in the timeless allure of Edith Piaf's La Vie en Rose with this captivating arrangement for violin, viola, double bass, and piano. Indulge in the romantic and soul-stirring melodies of this iconic French song as they intertwine harmoniously among these four exquisite instruments. The strings paint heartfelt and expressive melodies, while the piano adds depth, texture, and rhythmic intricacies to create a captivating tapestry of sound. The interplay between the instruments ignites a mesmerizing musical dialogue, allowing you to fully immerse yourself in the passionate essence of Piaf's composition.Whether performing for an audience or savoring the music in the comfort of your own space, this arrangement promises an unforgettable experience. Let the expressive melodies and harmonies of La Vie en Rose ignite your heart and soul, as the violin, viola, contrabass, and piano unite to breathe new life into this beloved classic.
$12.99
12.12 €
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Edith Piaf
#
André Nusa
#
La Vie En Rose
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Andre_Nusa
#
SheetMusicPlus
The John Dunbar Theme
Small Ensemble Double Bass - Level 3 - Digital Download SKU: A0.1090913 Composed by…
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Small Ensemble Double Bass - Level 3 - Digital Download SKU: A0.1090913 Composed by John Barry. Arranged by Graham Boag. Contemporary,Film/TV. Score and parts. 11 pages. Graham Boag #695055. Published by Graham Boag (A0.1090913). The John Dunbar Theme from the movie Dances With Wolves is arranged here for Double Bass Quartet. Dances with Wolves is a 1990 American epic Western film starring, directed, and produced by Kevin Costner in his feature directorial debut. It is a film adaptation of the 1988 novel Dances with Wolves by Michael Blake that tells the story of Union Army Lieutenant John J. Dunbar (Costner), who travels to the American frontier to find a military post, and who meets a group of Lakota. Costner developed the film with an initial budget of $15 million. Much of the dialogue is spoken in Lakota with English subtitles. It was shot from July to November 1989 in South Dakota and Wyoming, and translated by Doris Leader Charge, of the Lakota Studies department at Sinte Gleska University. The film earned favourable reviews from critics and audiences, who praised Costner's directing, the performances, screenplay, score, cinematography, and production values. It was a box office hit, grossing $424.2 million worldwide, making it the fourth-highest grossing film of 1990, and is the highest-grossing film for Orion Pictures. The film was nominated for 12 Academy Awards at the 63rd Academy Awards and won seven, including Best Picture, Best Director for Costner, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Original Score, and Best Sound Mixing. The film also won the Golden Globe Award for Best Motion Picture â Drama. It is one of only three Westerns to win the Oscar for Best Picture, the other two being Cimarron (1931) and Unforgiven (1992). It is credited as a leading influence for the revitalization of the Western genre of filmmaking in Hollywood. In 2007, Dances with Wolves was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant.
$15.99
14.92 €
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John Barry
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Graham Boag
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The John Dunbar Theme
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Graham Boag
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SheetMusicPlus
Partita No. 4 in D Major, BWV 828
Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411059 …
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Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411059 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroque,Classical,Contemporary. 89 pages. Songburd Music #993405. Published by Songburd Music (A0.1411059). Dr. Lydia Consilvioâs arrangement of Johann Sebastian Bachâs keyboard Partita No. 4 in D Major (BWV 828) presents a fresh expression of Bachâs keyboard suite, giving listeners a new way to hear and appreciate this delightful work. Drawing upon the Bach-Gesellschaft edition, Consilvioâs reimagination for two oboes, English horn, and bassoon stays true to the original keyboard score and thoughtfully contributes to the double reed repertoire.This adaptation for small wind ensemble naturally creates complementary and flexible dynamics that allow sonorities to emerge in a manner not possible on the harpsichord or pianoâenhancing the phrasing and coloristic possibilities inherent in the music. Consilvioâs distribution of melodic material clearly highlights Bachâs use of voices (usually two or three within a single line) through a conversational woodwind dialogue.Notably, Bachâs keyboard Partita No. 4 is comprised of movements based on Renaissance dance formsâallemande, courante, sarabande, menuet and gigueâeach influenced by the step-pattern of that specific dance. These Renaissance dances were typically accompanied by families of like instruments in small ensembles called âconsorts;â fittingly, the instrumentation of this arrangement captures both the original medium for the dance sets, and the Baroque taste and style of Johann Sebastian Bach.
$89.99
83.95 €
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Johann Sebastian Bach
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Lydia Consilvio
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Partita No. 4 in D Major, BWV 828
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Songburd Music
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SheetMusicPlus
Partita No. 1 in B-Flat Major, BWV 825
Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411052 …
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Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411052 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroque,Classical,Contemporary. 53 pages. Songburd Music #993398. Published by Songburd Music (A0.1411052). Dr. Lydia Consilvioâs arrangement of Johann Sebastian Bachâs keyboard Partita No. 1 in B-Flat Major (BWV 825) presents a fresh expression of Bachâs keyboard suite, giving listeners a new way to hear and appreciate this delightful work. Drawing upon the Bach-Gesellschaft edition, Consilvioâs reimagination for two oboes, English horn, and bassoon stays true to the original keyboard score and thoughtfully contributes to the double reed repertoire.  This adaptation for small wind ensemble naturally creates complementary and flexible dynamics that allow sonorities to emerge in a manner not possible on the harpsichord or pianoâenhancing the phrasing and coloristic possibilities inherent in the music. Consilvioâs distribution of melodic material clearly highlights Bachâs use of voices (usually two or three within a single line) through a conversational woodwind dialogue. Notably, Bachâs keyboard Partita No. 1 is comprised of movements based on Renaissance dance formsâallemande, courante, sarabande, menuet and gigueâeach influenced by the step-pattern of that specific dance. These Renaissance dances were typically accompanied by families of like instruments in small ensembles called âconsorts;â fittingly, the instrumentation of this arrangement captures both the original medium for the dance sets, and the Baroque taste and style of Johann Sebastian Bach.
$59.99
55.96 €
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Johann Sebastian Bach
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Lydia Consilvio
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Partita No. 1 in B-Flat Major, BWV 825
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Songburd Music
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SheetMusicPlus
Partita No. 3 in A Minor, BWV 827
Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1397731 …
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Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1397731 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroque,Classical,Contemporary. 64 pages. Songburd Music #981022. Published by Songburd Music (A0.1397731). Dr. Lydia Consilvioâs arrangement of Johann Sebastian Bachâs keyboard Partita No. 3 in A Minor (BWV 827) presents a fresh expression of Bachâs keyboard suite, giving listeners a new way to hear and appreciate this delightful work. Drawing upon the Bach-Gesellschaft edition, Consilvioâs reimagination for two oboes, English horn, and bassoon stays true to the original keyboard score and thoughtfully contributes to the double reed repertoire.  This adaptation for small wind ensemble naturally creates complementary and flexible dynamics that allow sonorities to emerge in a manner not possible on the harpsichord or pianoâenhancing the phrasing and coloristic possibilities inherent in the music. Consilvioâs distribution of melodic material clearly highlights Bachâs use of voices (usually two or three within a single line) through a conversational woodwind dialogue. Notably, Bachâs keyboard Partita No. 3 is comprised of movements based on Renaissance dance formsâ allemande, corrente, sarabande, and gigueâeach influenced by the step-pattern of that specific dance.  These Renaissance dances were typically accompanied by families of like instruments in small ensembles called âconsorts;â fittingly, the instrumentation of this arrangement captures both the original medium for the dance sets, and the Baroque taste and style of Johann Sebastian Bach.
$59.99
55.96 €
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Johann Sebastian Bach
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Lydia Consilvio
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Partita No. 3 in A Minor, BWV 827
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Songburd Music
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SheetMusicPlus
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