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PIANO & CLAVIERS
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Chorale TTBB
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Quintette de Clarinettes: 5 clarinettes
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Vous avez sélectionné:
I Like Beer
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8 partitions trouvées
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1
I Like Beer
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.776387 By Tom T. Hall. By …
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.776387 By Tom T. Hall. By Tom T. Hall. Arranged by Tom Gentry. Contemporary. Octavo. 10 pages. Tom Gentry #5802405. Published by Tom Gentry (A0.776387).
$4.50
4.2 €
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Chorale TTBB
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Tom T
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Tom Gentry
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I Like Beer
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Tom Gentry
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SheetMusicPlus
I Like Beer
Chorale TTBB
Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.831522 By Tom T. Hall. By …
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Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.831522 By Tom T. Hall. By Tom T. Hall. Arranged by Konrad Harley. Contemporary. Octavo. 7 pages. Konrad Harley #4600743. Published by Konrad Harley (A0.831522). A funny country song arranged for TBB men's choir with piano and optional harmonica/rhythm.
$1.99
1.86 €
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Chorale TTBB
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Tom T
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Konrad Harley
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I Like Beer
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Konrad Harley
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SheetMusicPlus
I Like Beer
Piano seul
Piano Solo - Digital Download SKU: A0.1339132 Arranged by Tunescribers. Folk. Score…
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Piano Solo - Digital Download SKU: A0.1339132 Arranged by Tunescribers. Folk. Score. ArrangeMe #39233. Published by ArrangeMe (A0.1339132).
$9.95
9.28 €
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Piano seul
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Tunescribers
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I Like Beer
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ArrangeMe
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SheetMusicPlus
I Like Beer-TTBB - bass melody
Chorale TTBB
Choir, TTBB - Intermediate - Digital Download By Tom T. Hall. Arranged by Tom Gentry.…
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Choir, TTBB - Intermediate - Digital Download By Tom T. Hall. Arranged by Tom Gentry. 10 pages. Published by Tom Gentry
$4.50
4.2 €
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Chorale TTBB
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Tom T
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Tom Gentry
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I Like Beer-TTBB - bass melody
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Tom Gentry
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SheetMusicPlus
Root Beer Rag
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.871133 By Billy Joel. By Billy Joel…
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Piano Solo - Level 4 - Digital Download SKU: A0.871133 By Billy Joel. By Billy Joel. Arranged by Austin Kitchell. Pop,Rock. Score. 7 pages. Austin Kitchell #4841213. Published by Austin Kitchell (A0.871133). This arrangement came about because I was disgruntled at how NOT-ragtime (for lack of better words) most piano solo versions of this song were. I eventually got sick of this and wrote this arrangement. I also added the key change because of one recording I heard of Billy Joel playing this piece, except he played it really slow, and then sped up the recording before posting it, but in doing so, the whole song went up a half step. I liked how it sounded in that key, so I implemented it halfway through this arrangement. It does make the 2nd half quite a bit harder, but as they say, you can't have everything in life.Other than that, I hope you enjoy this song. It's a lot of fun.
$4.99
4.65 €
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Piano seul
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Billy Joel
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Austin Kitchell
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Root Beer Rag
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Austin Kitchell
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SheetMusicPlus
Tipplers Revel (XCIX Utres Cervisiae in Muro and other bacchanalian airs)
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.1093770 Composed by F. Leslie S…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.1093770 Composed by F. Leslie Smith. Folk,Holiday,Traditional. Score and parts. 57 pages. Sweetwater Brass Press #697853. Published by Sweetwater Brass Press (A0.1093770). Â Â Â Â The dictionary defines revel as âa time or instance of carefree fun.â The verb tipple refers to the imbibing of spirits. A tippler is one who drinks beer, wine, whiskey or other such spirituous liquids. So a tipplers revel would be a gathering of folks who, in the words of Dolly Partonâs âTwo Doors Down,â are âlaughing and drinking and having a party.â Â Â Â Â This Tipplers Revel is a compilation of traditional drinking songs. It begins and ends with that bane of school trips, faculty sponsors, bus drivers and chaperones, â99 Bottles of Beer on the Wall.â And between those two bookends come âRye Whiskey,â âLittle Brown Jug,â âLandlord, Fill the Flowing Bowl,â âJimmy Crack Corn,â âBeer, Beer, Beer (An Ode to Charlie Mops, The Man Who Invented Beer),â âHot Time in the Old Town Tonight,â âWein, Weib und Gesang [Wine, Woman, and Song],â âDrink to Me Only with Thine Eyes,â âThere Is a Tavern in the Town,â âGood Night, Ladies,â âHow Dry I Am,â and brief quotes from about a half dozen other melodies associated with quaffing. Â Â Â Â For the most part, this arrangementâs time signature is 4/4 and should be played at about 120 BPM. There are, however, two sections of 3/4 time, one of which is marked âtempo di valse,â and the opening and ending few measures should be played rather slowly. Â Â Â Â The music should be well within the normal range of the group. Possible exceptions: trumpets play their A above the staff a couple of times. Â Â Â Â There are quite a few 16th notes in the allegro sections. (And one could make the argument that at least two sections ought to have been written in 6/8 time. But they werenât.) Â Â Â Â Completed in 2022, performance time runs about 6 minutes, 43 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.) Â
$7.95
7.42 €
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Ensemble de cuivres
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F
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Tipplers Revel
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Sweetwater Brass Press
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SheetMusicPlus
Introspection 1
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte.…
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Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me. The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook. You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio. I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.
$3.99
3.72 €
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Piano seul
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the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats
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Eric Paul Nolte
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Introspection 1
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Eric Paul Nolte
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SheetMusicPlus
Watermelon Man for Clarinet Quintet & Opt. Drumset
Quintette de Clarinettes: 5 clarinettes
By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published…
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By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.
$14.99
13.98 €
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Quintette de Clarinettes: 5 clarinettes
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Herbie Hancock
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Keith Terrett
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Watermelon Man for Clarinet Quintet & Opt. Drumset
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Music for all Occasions
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SheetMusicPlus
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