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Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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Violoncelle (partie séparée)
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Quatuor à cordes: 2 violons, alto, violoncelle
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Vous avez sélectionné:
From The Inside Out for Cello
SheetMusicPlus
Partitions à imprimer
23 partitions trouvées
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1
From The Inside Out
Violoncelle (partie séparée)
Cello Solo - Level 1 - Digital Download SKU: A0.601668 Composed by Joel Houston. Ar…
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Cello Solo - Level 1 - Digital Download SKU: A0.601668 Composed by Joel Houston. Arranged by Kevin Busse. Christian,Gospel. Individual part. 3 pages. Kevin Busse #3510373. Published by Kevin Busse (A0.601668). This is a simple transcription of From The Inside Out in the easy key of C for Cello
$4.99
4.69 €
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Violoncelle (partie séparée)
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Joel Houston
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Kevin Busse
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From The Inside Out
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Kevin Busse
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SheetMusicPlus
From The Inside Out
Violoncelle (partie séparée)
Cello Solo - Level 3 - Digital Download SKU: A0.601682 Composed by Joel Houston. Ar…
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Cello Solo - Level 3 - Digital Download SKU: A0.601682 Composed by Joel Houston. Arranged by Kevin Busse. Christian,Gospel. Individual part. 2 pages. Kevin Busse #3510401. Published by Kevin Busse (A0.601682). This is a simple transcription of From The Inside Out in a good range for Cello
$4.99
4.69 €
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Violoncelle (partie séparée)
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Joel Houston
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Kevin Busse
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From The Inside Out
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Kevin Busse
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SheetMusicPlus
From The Inside Out
Violoncelle (partie séparée)
Cello Solo - Level 3 - Digital Download SKU: A0.600134 Composed by Joel Houston. Ar…
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Cello Solo - Level 3 - Digital Download SKU: A0.600134 Composed by Joel Houston. Arranged by Kevin Busse. Christian,Gospel. Individual part. 3 pages. Kevin Busse #3456399. Published by Kevin Busse (A0.600134). This is a simple transcription of From The Inside Out in the original key for Cello
$4.99
4.69 €
#
Violoncelle (partie séparée)
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Joel Houston
#
Kevin Busse
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From The Inside Out
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Kevin Busse
#
SheetMusicPlus
From The Inside Out for Cello
Violoncelle
By Hillsong United. Arranged by José Daniel Morales A. Individual Part. 2 pages. Publishe…
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By Hillsong United. Arranged by José Daniel Morales A. Individual Part. 2 pages. Published by Jose Daniel Morales (H0.176255-114378). - Individual Part - - Jose Daniel Morales
$4.99
4.69 €
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Violoncelle
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Hillsong United
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José Daniel Morales A
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From The Inside Out for Cello
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Jose Daniel Morales
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SheetMusicPlus
Jesus, Lover of My Soul for Bassoon, Tuba, Piano, and Cello
Small Ensemble Bassoon,Cello,Piano Accompaniment,Tuba - Level 4 - Digital Download SKU:…
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Small Ensemble Bassoon,Cello,Piano Accompaniment,Tuba - Level 4 - Digital Download SKU: A0.1005686 Composed by 1879, Charles Wesley 1740, and Joseph Parry. Arranged by Grace Joy Reid, 2021. Christian,Contemporary,Easter,Sacred. Score and parts. 13 pages. Creating Music Joy #6268769. Published by Creating Music Joy (A0.1005686). Perfect for Prelude, Offertory, Meditation, or Communion and for Easter. Each part gets to play moving parts of either the Melody/Harmony or both. This arrangement draws the parishioner into worship. Put the words on your PowerPoint Slides for meditation as the instrumentalists play in your church worship service online, or in person. Remember, that in this world of trials and difficulties, that you are never alone. Jesus is with you in your troubles. Jesus loves your soul. Jesus loves you from the inside out. All praise be to God through Jesus Christ, my Saviour and Lord. 2 Chronicles 7:14. creatingmusicjoy.com. Creating Music Joy LLC Publishing Co.
$19.95
18.76 €
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1879, Charles Wesley 1740, and Joseph Parry
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Grace Joy Reid, 2021
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Jesus, Lover of My Soul for Bassoon, Tuba, Piano, and Cello
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Creating Music Joy
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SheetMusicPlus
Mysterious Moment for alto flute and string trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.52 €
#
Trio à Cordes: violon, alto, violoncelle
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David Warin Solomons
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Mysterious Moment for alto flute and string trio
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David Warin Solomons
#
SheetMusicPlus
Eros for cello solo
Violoncelle (partie séparée)
Cello Solo - Level 5 - Digital Download SKU: A0.886674 Composed by Panagiotis Theod…
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Cello Solo - Level 5 - Digital Download SKU: A0.886674 Composed by Panagiotis Theodossiou. Concert,Contemporary,Graduation,Standards. Individual part. 9 pages. Panagiotis Theodossiou #3079339. Published by Panagiotis Theodossiou (A0.886674). Eros, for cello solo, Love shattered my mind, like a storm in an oak forest on the mountainside.«ÎÏÎ¿Ï Î´â εÏίναξΠμοι ÏÏÎναÏ, ÏÏ Î¬Î½ÎµÎ¼Î¿Ï ÎºÎ±Ïâ ÏÏÎ¿Ï Î´ÏÏ Ïίν εμÏÎÏÏν.» Sappho (V, 47 Lobel â Page) (2005), The work was a commission by the Thomas Tamvakos Greek Composers Archive. The power of love as Sappho poetically saw it and the composer musically hear it thousand years later. In a mystic and romantic-expressionistic as well mood Eros is based in a dialectical juxtaposition between the ancient Greek spirit and the contemporary musical thinking. The short citations of the famous Orestes stasimo from the Euripidian trilogy which recurs periodically works as a sacred voice from the past that leads the composer through the centuries and motivates his creativity. The work has been performed twice in 2006: by Dimitris Magriotis at Philippos Nakas Concert Hall, Athens and by Olga Articopoulou at EXPO ATHENS Concert Hall, in the Anthousa String Festival receiving a honoured distinction.In its version for viola solo (2010), it has been performed by Andrea Hemmenway in Composer's Portrait, organized by the Greek Composers Union at Hellenic Conservatory in Marousi in 2010 and in her personal recital at Vryssaki Hall, Athens Plaka, the same year. https://www.youtube.com/watch?v=0MyLyIpbcwg
$10.00
9.41 €
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Violoncelle (partie séparée)
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Panagiotis Theodossiou
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Eros for cello solo
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Panagiotis Theodossiou
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SheetMusicPlus
MANX LIFE SUITE for STRING QUARTET
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1334145 Composed…
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String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1334145 Composed by Trad & Alan Edgar. Folk,Traditional. 36 pages. Alan Edgar Ted Moon #920362. Published by Alan Edgar Ted Moon (A0.1334145). Here'a suite about life in the Isle of Man based on Manx folk tunes and religious music.  All the harmonies and some decorations are mine. There are 5 movements. I MAINLY CELEBRATIONS:  I found all the melodies in The Mona Melodies, a group of traditional tunes (probably heard in Douglas) collected in 1820.  Hunt the Wren is a surprising, lively, traditional event on St Stephen's Day when villagers dance and sing round the town hoping for gifts. This tune is dorian.  A Lullaby in aeolian follows, then In Praise of Wine, in ionian, while at the same time fragments of the Lullaby are heard from inside a home.  The Wren group return.II FAITH Religious music  I assume could have been heard in Manx churches.  Two supposedly Celtic-style antiphon melodies from a 13th-century breviary from Caen  (a) The Holy Cross (b)  The Saints.  I made them into parallel organum with a drone.  Between them is an elaborate ancient melody (labelled Martyrs) for Psalm 80 (Lord, come and save us), which I found with Gaelic words.  I accompany with 3 more parts.  The whole movement is in dorian mode.III EMOTIONS:  Mourning for a Prince is a mixolydian tune also found in The Mona Melodies.  I give the tune to the viola.  In Praise of Beauty is sung by the cello in C major.  This tune is also found in The Mona Melodies, as Brown Oxen (Berry Dowin).  William Brown (Illiam Dhoan) (should be Dhone, I believe) is the air used for Love Lost and Found: again from The Mona Melodies.  I made it C minor at first (love lost) , then  the original version in F major (love found).IV CAR JUAN NAN (Let's All Dance) is a reel, from which I took a few bars and made it into a round.  My source was the book Ed. Colin Jerry Kiaull yn Theay 1:  Manx music and songs for folk instrumentsV WORK, REST and PLAY.  The Spinning Song is major/ionian, the Milking Song is major pentatonic, but my mooing bass part does not respect that: I found those tunes in  Kiaull yn Theay.  The Harvest Celebration Dance (Yn Mheillea) is from manxmusic.com.  The Goodnight Song (Arrane Oie Vie) was traditionally sung after a Christmas Eve event in the church, after more formal proceedings and after the singing of many gloomy vaguely religious songs there and a visit to the pub.  Collected from Mr E, Corteen and Mr T.  Taggart of Malew:  my source:  manxmusic.com.DURATION: 15 minutes.
$25.00
23.51 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Trad & Alan Edgar
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MANX LIFE SUITE for STRING QUARTET
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Alan Edgar Ted Moon
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SheetMusicPlus
Inside - Looking Out (rosie)
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.5…
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.585313 Composed by Alan Lomax, Bryan Chandler, Eric Burdon, and John A. Lomax. Arranged by Jeff Tincher. Contemporary. Score and parts. 45 pages. Jeff Tincher #6233373. Published by Jeff Tincher (A0.585313). Here is one of the biggest early hits from Grand Funk Railroad. In the original key from their Grand Funk LP, also known as the Red Album, this rock song was a staple for their live concerts until they broke up. This arrangement includes the guitar and harmonica solos. Duration = 9:59. Visit my websites:https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99
12.22 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Alan Lomax, Bryan Chandler, Eric Burdon, and John A
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Jeff Tincher
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Inside - Looking Out
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Jeff Tincher
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SheetMusicPlus
Eternal Bridge For Oboe Harp And Strings
Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SK…
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Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.âThe litle story of the - âEternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
$25.00
23.51 €
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Luis Anjos Teixeira
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Eternal Bridge For Oboe Harp And Strings
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Luis Anjos Teixeira
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.52 €
#
David Warin Solomons
#
Mysterious Moment for oboe and string trio
#
David Warin Solomons
#
SheetMusicPlus
The Hammer and the Nail - in bass clef - A Good Friday Song
Small Ensemble Bass Voice,Piano,Tenor Voice - Level 2 - Digital Download SKU: A0.801045…
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Small Ensemble Bass Voice,Piano,Tenor Voice - Level 2 - Digital Download SKU: A0.801045 Composed by Connie Boss. Easter,Sacred. Score and parts. 4 pages. Connie Boss #4285309. Published by Connie Boss (A0.801045). A song for Good Friday. I have one out there in treble clef. This one is in bass clef for men to sing it. It has piano accompaniment and guitar chords as well as written in duet. The ending is unique (my mp3 doesn't show it because I couldn't get it to play it right) but after Pound # 11 I'm no longer breathin', it ends in complete silence at that point.The attached video is in SA and cello. Questions or requests, email cdboss@cvalley.netLyrics:Refrain: How can it be, the pain that I feel, pounding through my hands be from the hammer and the nail? When as a child, so young, but aware, I watched Joseph use the hammer and the nail. To create things that were so beautiful. How can this pain be from the hammer and the nail? Verse Pound #1 What have I done Pound #2 They know not what they do Pound #3 Iâm shaking in my knees Pound #4 Leads to many more Refrain: Verse Pound #5 Iâm barely alive Pound #6 They poke me with a stick Pound #7 Soon Iâll be in heaven Pound #8 Iâm feeling faint Refrain: Pound #9 Iâm dying inside Pound #10 Father please forgive them Pound #11 Iâm no longer breathinâ.
$5.50
5.17 €
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Connie Boss
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The Hammer and the Nail - in bass clef - A Good Friday Song
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Connie Boss
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SheetMusicPlus
Jingle Bells in Different Styles for Cello Quintet
String Quintet Cello - Level 4 - Digital Download SKU: A0.1302667 Composed by James…
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String Quintet Cello - Level 4 - Digital Download SKU: A0.1302667 Composed by James Lord Pierpont. Arranged by Ander. Children,Christmas. 35 pages. Woods Only, Arrangements #892292. Published by Woods Only, Arrangements (A0.1302667). Are you looking for a fun and creative way to play Jingle Bells, the famous Christmas song? Then you will love this arrangement for Violoncello Quintet, which explores the theme in different styles, from waltz to samba. In this arrangement, you will find a slow and gentle opening, which introduces the theme of the melody with delicacy and elegance, followed by a cheerful and lively version, which follows the original version of the song, with striking rhythm and simple harmony. Then, you will be charmed by a waltz version, which gives a different charm to the music, with smooth and graceful movements, and be infected by a samba version, which brings a Brazilian touch to the music, with dancing beat and elements of the samba root. Next, you will be moved by a sad and melancholic version, in minor tone, which shows a touching side of the music, with expressiveness and sensitivity. Finally, you will have fun with a return of the cheerful version, which explores the theme in different tones, with solos divided among all the voices of the arrangement, creating an impression of jumping party. This arrangement is ideal for Christmas parties, in chamber music groups, and can be used in recitals and concerts, inside or outside the academy. It is a different and innovative way to perform this beautiful music, which will surprise and delight your audience. Do not miss this opportunity to acquire this exclusive and fun arrangement of Jingle bells in Different Styles!
$9.99
9.4 €
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James Lord Pierpont
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Ander
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Jingle Bells in Different Styles for Cello Quintet
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Woods Only, Arrangements
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.56 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Bundle Of Joy
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.1154710 Composed by Michael Giacch…
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Cello,Piano - Level 3 - Digital Download SKU: A0.1154710 Composed by Michael Giacchino. Arranged by Thiago Marconato. Film/TV. Score and part. 4 pages. Thiago Marconato #754985. Published by Thiago Marconato (A0.1154710). Arrangement for cello and piano of Bundle of joy, theme from Inside Out, in G major (original key). The file contains full score and cello part.
$5.99
5.63 €
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Violoncelle, Piano
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Michael Giacchino
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Thiago Marconato
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Bundle Of Joy
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Thiago Marconato
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SheetMusicPlus
Suite from Goldberg Variations (Score and Parts)
4 Hautbois
Small Ensemble Cello,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.809076 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.809076 Composed by Johann Sebastian Bach. Arranged by Kim Diehnelt. Baroque,Concert. Score and parts. 55 pages. Kim Diehnelt #6604325. Published by Kim Diehnelt (A0.809076). Suite from J. S. Bachâs Goldberg VariationsArranged for Oboe Quartet(Oboe, Violin, Viola, Cello)This new ensemble arrangement for Oboe and String Trio brings Bachâs monumental work to life in a manner never heard before. It stretches our ear to hear deeply and imaginatively inside this timeless work of art, while paying tribute and illuminating the enduring mastery of Bachâs form, technique, and expressive beauty.The Suite includes the opening Aria, and six variations. No. 1, 10 (Fugetta), 25 (Adagio), 22 (Alla breve), 24 (Canone allâOttava), and 30 (Quodlibet).Duration: About 25 minutes with repeats.The Aria is also available separately.
$38.00
35.74 €
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4 Hautbois
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Johann Sebastian Bach
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Kim Diehnelt
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Suite from Goldberg Variations
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Kim Diehnelt
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SheetMusicPlus
Bundle Of Joy
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1205743 Composed by Michael Giacchino. Arranged by Thiago Marconato. Film/TV. Score and parts. 8 pages. Thiago Marconato #803926. Published by Thiago Marconato (A0.1205743). Arrangement for string quartet (2 violins, viola and cello) of Bundle of joy, theme from Inside Out, in G major (original key).
$12.99
12.22 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Michael Giacchino
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Thiago Marconato
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Bundle Of Joy
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Thiago Marconato
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SheetMusicPlus
Dream for Me
Chorale 2 parties
2-part choir, Piano (With Optional Cello) - Digital Download SKU: LX.15-3653H Compo…
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2-part choir, Piano (With Optional Cello) - Digital Download SKU: LX.15-3653H Composed by Brenda Hass. Educational. Octavo. 12 pages. Heritage Music Press #e15/3653H. Published by Heritage Music Press (LX.15-3653H). ISBN 9780787764845.Day to day you plant the seeds, you watch us grow, you care for us, you invest yourself; and deep inside you know all that we see is not all that we can be. The inspiring text relays the thoughts of appreciation from a child to a parent, teacher, or caring friend. The gentle rocking feel and lyrical quality throughout set the stage for an exceptional concert number appropriate for a moving up ceremony or parent appreciation day.
$2.50
2.35 €
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Chorale 2 parties
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Brenda Hass
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Dream for Me
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Heritage Music Press
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SheetMusicPlus
Durham Concerto
Violin, cello, Northumbrian pipes, Hammond-organ and orchestra - Digital Download SKU: …
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Violin, cello, Northumbrian pipes, Hammond-organ and orchestra - Digital Download SKU: S9.Q52424 For violin, cello, Northumbrian pipes, hammond organ and orchestra. Composed by Jon Lord. This edition: study score. Evening - architecture - dawn - architecture - cathedral - bagpipes - Durham - England - Great Britain - cathedral - Church - concerto - morning - afternoon - nocturne - Northumbrian pipes - program music - program music - students - Studies - Studies. Music Of Our Time. Downloadable, Study score. Duration 57' 0. Schott Music - Digital #Q52424. Published by Schott Music - Digital (S9.Q52424). The general inspiration for the music was an idea of Durham, garnered from two or three short visits and a reading of a short history â so a sort of âDurham of the mindâ, a stylized Durham; âmyâ Durham, if you will, imagined into music. However, the defining inspiration for the piece was the Cathedral. My first visit to Durham in 2001 saw me standing open-mouthed on Palace Green, and then in silent awe as I walked into that formidable magnificence inside. Most of the themes came from the days immediately following my first experience of this extraordinary, inspiring building. The feeling that the very stones and pillars themselves are imbued with centuries of prayer, with peopleâs joy, grief, despair, even anger; gratitude and hope. As the tunes and chords and sounds started to organize themselves in my mind and onto manuscript paper, I realized that I was writing a sort of âday in the life of Durhamâ, and that the Cathedral would be its beginning, would be in its middle, and would be at its ending. The piece consists of six âpicturesâ arranged into three parts â the morning, afternoon and evening of this imaginary Durham city. Jon Lord, 20173 (3. auch Picc.) · 2 · Engl. Hr. · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 (1. auch Flhr. ad lib., 3. auch Piccolotr.) · 3 · 1 - P. S. (Glsp. · Xyl. · Marimb. · Röhrengl. · Trgl. · Schlittengl. · häng. Beck. · Beckenpaar · Tamt. · Schellentr. · Tomt. · kl. Tr. · gr. Tr. · Woodbl.) (5 Spieler) - Cel. · Hfe. (ad lib.2) - Str. (16 · 14 · 12 · 10 · 8 - Minimum: 14 · 12 · 10 · 8 · 6).
$46.99
44.2 €
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Jon Lord
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Durham Concerto
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Schott Music - Digital
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SheetMusicPlus
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