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TRI ET FILTRES
Tri et filtres :
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ACCORDEON
ALTO
AUTOHARPE
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CLAIRON
CLARINETTE
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COR
CORNEMUSE
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HARMONICA
HARPE
HAUTBOIS
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LUTH
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PIANO & CLAVIERS
Piano seul
940
Piano, Voix et Guitare
821
Piano, Voix
693
Piano Facile
228
Instruments en Do
68
Orgue
56
Piano grosses notes
27
1 Piano, 4 mains
19
Piano Trio: piano, violon, violoncelle
15
Accordéon
11
Accompagnement Piano
10
2 Pianos, 4 mains
8
Piano (partie séparée)
8
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Accordéon, Voix
4
Clavecin
4
Ligne De Mélodie, Piano
3
Instrument seul et Orgue
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Ensemble de Pianos
1
Clavier
1
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GUITARES
Guitare notes et tablatures
172
Ligne De Mélodie, (Paroles) et Accords
105
Guitare
97
Ukulele
53
Paroles et Accords
30
Basse electrique
21
Dulcimer
5
Piano, Guitare (duo)
5
Ensemble de guitares
5
2 Guitares (duo)
5
Guitare (partie séparée)
5
Mandoline, Guitare (duo)
4
Banjo
4
4 Guitares (Quatuor)
2
Mandoline
2
Guitare Pedal Steel
1
Guitare, Orchestre
1
2 Dulcimers (duo)
1
Ensemble de Ukulélés
1
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VOIX
Chorale SATB
588
Chorale 3 parties
184
Chorale TTBB
132
Chorale 2 parties
130
Voix duo, Piano
55
Chorale Unison
49
Chorale SSAA
42
Chorale
33
Voix Alto, Piano
27
Voix Tenor
27
Voix Soprano
24
Voix seule
20
Voix Soprano, Piano
19
Voix duo
16
Voix haute
11
Voix Tenor, Piano
5
Voix Baryton, Piano
5
Voix Mezzo-Soprano, Piano
2
Chorale SSATTB
1
Voix moyenne, Piano
1
Chorale SSATB
1
Voix, Guitare
1
Chorale SSATBB
1
Voix basse
1
Chorale SSAB, Piano
1
Voix basse, Piano
1
Soli, choeur mixte et accompagnement
1
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VENTS
Quatuor de Saxophones: 4 saxophones
119
Flûte, Hautbois, Clarinette, Basson
91
Saxophone Alto
77
Clarinette
71
Flûte traversière et Piano
64
Hautbois, Piano (duo)
60
Flûte traversière
60
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
59
Saxophone (partie séparée)
56
Saxophone Tenor
50
2 Flûtes traversières (duo)
46
Clarinette et Piano
43
Saxophone Alto et Piano
42
2 Saxophones (duo)
42
Saxophone Tenor et Piano
37
Quintette de Saxophone: 5 saxophones
32
Quatuor de Clarinettes: 4 clarinettes
31
Hautbois (partie séparée)
30
Ensemble de saxophones
29
Saxophone Soprano et Piano
23
2 Clarinettes (duo)
22
Ensemble de Flûtes
19
Ensemble de Clarinettes
19
Quatuor de Flûtes : 4 flûtes
15
Saxophone Baryton, Piano
14
3 Clarinettes (trio)
14
3 Saxophones (trio)
13
Saxophone
12
2 Hautbois (duo)
11
Flûte, Hautbois, Clarinette (trio)
10
Trio de Flûtes: 3 flûtes
9
Flûte, Clarinette (duo)
8
Clarinette (partie séparée)
8
2 Flûtes traversières, Piano
8
Cor anglais, Piano
6
Quintette de Flûte : 5 flûtes
5
Quatuor de Flûtes à bec
5
2 Clarinettes, Piano
5
Flûte et Guitare
5
Quintette de Clarinettes: 5 clarinettes
5
Saxophone Soprano
5
Flûte, Violon, Piano
4
Saxophone, Clarinette (duo)
4
Cor Anglais
3
Instruments en Mib
3
2 Hautbois, Piano
3
Clarinette, Guitare (duo)
3
Clarinette et Alto
3
Hautbois, Clarinette (duo)
3
Clarinette, Violon (duo)
3
Clarinette Basse, Piano
3
Flûte, Clarinette, Cor, Basson (Quartet)
3
Hautbois, Basson (duo)
2
Saxophone et Harpe
2
Flûte à Bec
2
2 Flûte à bec (duo)
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte, Saxophone (duo)
2
Ensemble à vent
2
Clarinette, Harpe (duo)
2
Hautbois
2
Flûte, Hautbois, Basson
2
Flûte, Violon et Violoncelle
2
Flûte à bec Soprano
2
Ensemble De Flûte à bec
2
Clarinette, Violoncelle (duo)
2
Hautbois, Flûte
2
Flute (partie séparée)
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Ocarina
1
Flûte, Alto et Piano
1
Flûte, Hautbois (duo)
1
Harmonica
1
Hautbois, Harpe
1
Flûte à Bec, Piano
1
Flûte, Basson et Piano
1
Piccolo
1
2 Saxophones, Piano
1
Flûte à bec Alto
1
Flûte, Violoncelle
1
Clarinette, Basson (duo)
1
Flûte irlandaise
1
Flûte, trombone et piano
1
Clarinette, trompette et piano
1
Flûte à bec Alto, Piano
1
Saxophone et Guitare
1
Piccolo, Piano
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Flûte, Clarinette, Piano (trio)
1
Flûte, Violon
1
Flûte à bec Tenor
1
Saxophone et Orgue
1
Flûte, Clarinette et Basson
1
Clarinette, Alto et Piano (trio)
1
4 Hautbois
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CUIVRES
Trompette
84
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
72
Quatuor de Cuivres : 2 trompettes, trombone, tuba
60
Trombone
52
Trombone et Piano
49
Cor
37
Trompette, Piano
35
Quatuor de Cuivres
27
Cor et Piano
26
2 Trompettes (duo)
24
2 Trombones (duo)
20
Trombone (partie séparée)
17
Tuba et Piano
17
Trompette (partie séparée)
15
2 Cors (duo)
14
Tuba
13
Quatuor de Cuivres: 2 trompettes, Cor, trombone
12
Trompette, Trombone (duo)
9
Ensemble de Trombones
9
Euphonium, Piano (duo)
7
Ensemble de Trompettes
7
Cor anglais, Piano
6
Bass Clef Instruments
6
Trompette, Saxophone (duo)
5
Trio de Cuivres
5
Quatuor de cuivres: 4 trombones
5
Quatuor de cuivres: 4 trompettes
4
2 Trompettes, Clavier (piano ou orgue)
4
2 Euphoniums et 2 Tubas
4
2 Tubas (duo)
4
Cor (partie séparée)
4
Quatuor de cuivres: 4 cors
3
Instruments en Sib
3
Cor Anglais
3
2 Cors, Piano
3
Trompette, Cor (duo)
2
Tuba et Orgue
2
Euphonium, Tuba (duo)
2
3 Trombones (trio)
2
Ensemble de Cors
2
4 Tubas
1
2 Euphoniums (duo)
1
Trombone basse et Piano
1
Trompette, Trombone, Piano
1
Trompette, Harpe
1
Tuba (partie séparée)
1
Trombone, Tuba (duo)
1
Trombone et orchestre
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4 Euphoniums
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Cor et Harpe
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
382
Violon
182
Violon, Violoncelle (duo)
173
Trio à Cordes: violon, alto, violoncelle
140
Violon et Piano
89
Alto, Piano
60
Harpe
57
Violoncelle, Piano
54
2 Violons (duo)
50
Quintette à cordes: 2 violons, alto, violoncelle, basse
43
Violoncelle
38
Alto seul
36
2 Violoncelles (duo)
27
Violoncelle (partie séparée)
24
Violon, Alto (duo)
23
2 Altos (duo)
21
Trio à Cordes: 2 violons, violoncelle
20
2 Harpes (duo)
14
Contre Basse
12
Contrebasse (partie séparée)
11
Contrebasse, Piano (duo)
10
Violon (partie séparée)
9
Alto (partie séparée)
9
Harpe, Voix
8
4 Violoncelles
8
Trio à cordes: 3 violins
7
Violoncelle, Contrebasse (duo)
6
Ensemble de Violons
6
2 Contrebasses (duo)
5
Alto, Violoncelle (duo)
4
Violon, Guitare (duo)
4
Trio à Cordes: 2 violons, alto
4
2 Violons, Piano
3
Harpe, Violoncelle (duo)
3
Ensemble d'Altos
3
Trio à cordes
3
2 Violoncelles, Piano
3
2 Altos, Piano
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Piano Trio: Violon, Alto, Piano
2
Harpe, Flûte (duo)
2
4 Contrebasses
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à Cordes: 3 violoncelles
2
Harpe, Violon (duo)
1
Alto et Harpe
1
Harpe, Trombone (duo)
1
Quatuor à cordes: 4 violons
1
Violoncelle , Guitare (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
228
Orchestre à Cordes
185
Orchestre
105
Ensemble de cuivres
58
Ensemble Jazz
52
Orchestre de chambre
28
Cloches
26
Ensemble de Percussions
24
Jazz combo
22
Batterie
12
Marimba
10
Percussion (partie séparée)
7
3 Marimbas
4
Batterie (partie séparée)
3
Xylophone, Piano
3
Xylophone
3
Fanfare
3
2 Marimbas
1
Timbales (partie séparée)
1
Piano et Orchestre
1
Instrumentation Flexible
1
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AUTRES
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I Hear Music
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When I Hear Music
Chorale Unison
Unison choir & Piano - Grade 1 - Digital Download SKU: IZ.VMS165U Composed by Brian…
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Unison choir & Piano - Grade 1 - Digital Download SKU: IZ.VMS165U Composed by Brian Katona. Score. 7 pages. Imagine Music - Digital #VMS165U. Published by Imagine Music - Digital (IZ.VMS165U). 8.5 x 11 in inches.A choral piece inspired by and inspiring to children both young and old, When I Hear Music is a beautiful yet simple composition for unison voices with a flowing melody and heartfelt words. Brian Katona's lyrics and music were inspired by the 2015aEUR2016 third grade class at Maurice Hawk Elementary School in West Windsor, New Jersey, where his children attended at the time, and the result is a touching tribute to the school and the children's expression of the importance of music in their lives. Dr. Katona is a composer, orchestrator, arranger and conductor who has scored documentary films and television pilots, and has composed numerous instrumental, choral and musical theater pieces.
$1.90
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Chorale Unison
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Brian Katona
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When I Hear Music
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Imagine Music - Digital
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SheetMusicPlus
When I Hear Music
Two-part choir & Piano - Grade 1 - Digital Download SKU: IZ.VMS165 Composed by Bria…
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Two-part choir & Piano - Grade 1 - Digital Download SKU: IZ.VMS165 Composed by Brian Katona. Score. 7 pages. Imagine Music - Digital #VMS165. Published by Imagine Music - Digital (IZ.VMS165). 8.5 x 11 in inches.A choral piece inspired by and inspiring to children both young and old, When I Hear Music is a beautiful yet simple composition for unison voices with a flowing melody and heartfelt words. Brian Katona's lyrics and music were inspired by the 2015-2016 third grade class at Maurice Hawk Elementary School in West Windsor, New Jersey, where his children attended at the time, and the result is a touching tribute to the school and the children's expression of the importance of music in their lives. Dr. Katona is a composer, orchestrator, arranger and conductor who has scored documentary films and television pilots, and has composed numerous instrumental, choral and musical theater pieces.
$2.10
1.92 €
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Brian Katona
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When I Hear Music
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Imagine Music - Digital
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SheetMusicPlus
Hark, I Hear the Harps Eternal
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Song List (1) Hark I Hear The Harps Eternal Reviews Don't miss out! Access exclusive content and coupons, and be the first to know about new releases
Song List: Hark I Hear The Harps Eternal
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Hark, I Hear the Harps Eternal
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SheetMusicPlus
When I Hear Music
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002792 When I Hear Music - SATB. Co…
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Chorus - Digital Download SKU: AX.00-PO-0002792 When I Hear Music - SATB. Composed by Michael G. Martin. Choral. 7 pages. Alfred Music - Digital Sheet Music #00-PO-0002792. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002792). UPC: 654979065074.This title is available in SmartMusic.
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Chorale SATB
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Michael G
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When I Hear Music
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Alfred Music - Digital Sheet Music
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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
21.95 €
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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
When I Hear Music
Chorus - Digital Download SKU: AX.00-PO-0005384 Composed by Michael G. Martin. Chor…
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Chorus - Digital Download SKU: AX.00-PO-0005384 Composed by Michael G. Martin. Choral. 7 pages. Alfred Music - Digital Sheet Music #00-PO-0005384. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0005384). UPC: 654979065081.
$2.25
2.06 €
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Michael G
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When I Hear Music
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Hear Music in Me
Chorus - Digital Download SKU: AX.00-PO-0004572 Composed by David Sprunger. Secular…
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Chorus - Digital Download SKU: AX.00-PO-0004572 Composed by David Sprunger. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0004572. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0004572). UPC: 038081058863.
$2.25
2.06 €
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David Sprunger
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I Hear Music in Me
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When I Hear Music
Chorus - Digital Download SKU: AX.00-PO-0005385 Composed by Michael G. Martin. Chor…
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Chorus - Digital Download SKU: AX.00-PO-0005385 Composed by Michael G. Martin. Choral. 7 pages. Alfred Music - Digital Sheet Music #00-PO-0005385. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0005385). UPC: 654979065098.
$2.25
2.06 €
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Michael G
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When I Hear Music
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Hear Music in Me
Chorus - Digital Download SKU: AX.00-PO-0004571 Composed by David Sprunger. Secular…
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Chorus - Digital Download SKU: AX.00-PO-0004571 Composed by David Sprunger. Secular Choral. 7 pages. Alfred Music - Digital Sheet Music #00-PO-0004571. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0004571). UPC: 038081002309.
$2.25
2.06 €
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David Sprunger
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I Hear Music in Me
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Oye la Música (Hear the Music)
Chorale 2 parties
Chorus - Digital Download SKU: AX.00-PO-0003149 Oye la Música (Hear the M…
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Chorus - Digital Download SKU: AX.00-PO-0003149 Oye la Música (Hear the Music) - 2-Part. Composed by Jay Althouse. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0003149. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003149). UPC: 038081200606.Jay Althouse follows up his cross-cultural A!Cantar! with another exciting choral work in Afro-Cuban style. The text (mostly in English, except for two brief Spanish phrases) reminds us that music is everywhere.I hear the rhythm of life in music. I hear the rhythm of life in song. An authentic salsa work for choir with a rhythmically infectious melody. Exiting choral music for all ages. Authentic Afro-Cuban SoundTrax. Staging Suggestions are featured on Sally's Showtime! video, Alfred #21176.Inst. Parts Available (choral); Recorded Acc. Available; Spanish Publications.
$2.05
1.88 €
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Chorale 2 parties
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Jay Althouse
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Recorded Acc. Available
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Oye la Música
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Oye la Música (Hear the Music)
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002889 Oye la Música (Hear the M…
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Chorus - Digital Download SKU: AX.00-PO-0002889 Oye la Música (Hear the Music) - SATB. Composed by Jay Althouse. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0002889. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002889). UPC: 038081200583.Jay Althouse follows up his cross-cultural A!Cantar! with another exciting choral work in Afro-Cuban style. The text (mostly in English, except for two brief Spanish phrases) reminds us that music is everywhere.I hear the rhythm of life in music. I hear the rhythm of life in song. An authentic salsa work for choir with a rhythmically infectious melody. Exiting choral music for all ages. Authentic Afro-Cuban SoundTrax. Staging Suggestions are featured on Sally's Showtime! video, Alfred #21176.Inst. Parts Available (choral); Recorded Acc. Available; Spanish Publications.
$2.25
2.06 €
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Chorale SATB
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Jay Althouse
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Recorded Acc. Available
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Oye la Música
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Heard the Bells on Christmas Day
Chorus - Digital Download SKU: AX.00-PO-0003246 I Heard the Bells on Christmas D…
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Chorus - Digital Download SKU: AX.00-PO-0003246 I Heard the Bells on Christmas Day - TTB. Composed by John Baptiste Calkin. Arranged by Ryan O'Connell. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0003246. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003246). UPC: 038081488141. Henry Wadsworth Longfellow.This fresh arrangement treats the traditional English carol like a contemporary theater piece. You may recognize the words and the tune, but you'll hear the meaning for the very first time, and Longfellow's text is still poignant today as we continue to strive for peace on earth, goodwill to men.Recorded Acc. Available.
$1.90
1.74 €
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John Baptiste Calkin
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Ryan O'Connell
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I Heard the Bells on Christmas Day
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Heard the Bells on Christmas Day
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0003245 I Heard the Bells on Christmas D…
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Chorus - Digital Download SKU: AX.00-PO-0003245 I Heard the Bells on Christmas Day - SAB. Composed by John Baptiste Calkin. Arranged by Ryan O'Connell. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0003245. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003245). UPC: 038081488134. Henry Wadsworth Longfellow.This fresh arrangement treats the traditional English carol like a contemporary theater piece. You may recognize the words and the tune, but you'll hear the meaning for the very first time, and Longfellow's text is still poignant today as we continue to strive for peace on earth, goodwill to men.Recorded Acc. Available.
$1.90
1.74 €
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Chorale 3 parties
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John Baptiste Calkin
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Ryan O'Connell
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I Heard the Bells on Christmas Day
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Make Them Hear You (from Ragtime The Musical(tm))
Chorale 3 parties
Make Them Hear You (from Ragtime The Musicalâ„¢) - SAB. Composed by Steph…
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Make Them Hear You (from Ragtime The Musicalâ„¢) - SAB. Composed by Stephen Flaherty. Arranged by Jeff Funk. Choral. 7 pages. Alfred Music - Digital Sheet Music #00-PO-0003495. Published by Alfred Music - Digital Sheet Music
$2.10
1.92 €
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Chorale 3 parties
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Stephen Flaherty
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Jeff Funk
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Make Them Hear You
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Hutton Armand : Do You Hear What I Hear?
Voix seule
Téléchargez la partition Chant Do You Hear What I Hear? de Hutton Armand. Pa…
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Téléchargez la partition Chant Do You Hear What I Hear? de Hutton Armand. Partition pour Choeur -- Pop/rock
7.99 €
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Voix seule
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Hutton Armand
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Do You Hear What I Hear?
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Tomplay
Do You Hear What I Hear
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: A0.1273060 By Carole King. By Gloria Shayne and Noel Regney. Arranged by Michael Todd Kovell. 20th Century,Chamber,Christmas,Classical,Holiday. 13 pages. Phinney Music #865249. Published by Phinney Music (A0.1273060). Introducing our captivating and enchanting string quartet sheet music arrangement of the timeless Christmas classic, Do You Hear What I Hear, composed by Noel Regney. This beautiful arrangement is meticulously crafted to breathe new life into the iconic melody, making it a perfect addition to any string quartet's repertoire.Key Features:Elevated Musical Expression: Our arrangement stays true to the original composition's emotive depth while adding nuanced dynamics and expressive markings, empowering your string quartet to deliver a heartfelt performance that resonates with audiences.Artful Harmonies: The arrangement includes rich harmonies and counterpoint that accentuate the magical essence of the song, offering each instrument within the quartet a chance to shine and contribute to the overall enchanting ambiance.Professional Notation: With precise and meticulously notated music sheets, you'll find clear and accurate representations of each part, simplifying rehearsals and ensuring a seamless performance.Embracing Tradition and Innovation: While honoring the traditional charm of the original piece, our arrangement introduces subtle modern elements that captivate contemporary audiences, making it ideal for various performance settings.Benefits:Delight Your Audience: Share the holiday spirit and captivate your audience with this well-loved Christmas melody, reimagined for string quartets. The familiar tune, combined with skillful playing, is sure to touch the hearts of listeners.Perfect for Celebratory Events: Whether it's a festive concert, private gathering, or Christmas celebration, the arrangement adds a touch of elegance and cheer to any occasion, making it a standout performance in your repertoire.Target Audience:Our Do You Hear What I Hear string quartet sheet music arrangement caters to a broad audience:Professional String Quartets seeking fresh, high-quality repertoire for their performances.Amateur and Intermediate String Quartets looking to expand their holiday-themed repertoire and challenge their skills.Music Educators searching for engaging pieces to teach their students about harmony, dynamics, and expression.Music Enthusiasts eager to explore and experience the beauty of Do You Hear What I Hear through the exquisite sounds of a string quartet.Add a touch of timeless elegance and holiday magic to your string quartet's performances with our exceptional arrangement of Do You Hear What I Hear. Embrace the spirit of the season and create cherished memories with this enchanting and expressive piece.
$12.99
11.88 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Carole King
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Michael Todd Kovell
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Do You Hear What I Hear
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Phinney Music
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SheetMusicPlus
George Fragos : I Hear a Rhapsody (niveau intermédiaire, sax alto)
Saxophone
Téléchargez la partition Saxophone I Hear a Rhapsody (niveau interméd…
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Téléchargez la partition Saxophone I Hear a Rhapsody (niveau intermédiaire, sax alto) de George Fragos. Partition pour Saxophone avec accomp. orchestre -- Jazz
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Saxophone
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau intermédiaire, sax ténor)
Saxophone
Téléchargez la partition Saxophone I Hear a Rhapsody (niveau interméd…
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Téléchargez la partition Saxophone I Hear a Rhapsody (niveau intermédiaire, sax ténor) de George Fragos. Partition pour Saxophone avec accomp. orchestre -- Jazz
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Saxophone
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau difficile, sax ténor)
Saxophone
Téléchargez la partition Saxophone I Hear a Rhapsody (niveau difficile, sax …
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Téléchargez la partition Saxophone I Hear a Rhapsody (niveau difficile, sax ténor) de George Fragos. Partition pour Saxophone avec accomp. orchestre -- Jazz
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Saxophone
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau difficile, sax alto)
Saxophone
Téléchargez la partition Saxophone I Hear a Rhapsody (niveau difficile, sax …
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Téléchargez la partition Saxophone I Hear a Rhapsody (niveau difficile, sax alto) de George Fragos. Partition pour Saxophone avec accomp. orchestre -- Jazz
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Saxophone
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau intermédiaire)
Flûte traversière
Téléchargez la partition Flûte I Hear a Rhapsody (niveau intermé…
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Téléchargez la partition Flûte I Hear a Rhapsody (niveau intermédiaire) de George Fragos. Partition pour Flûte avec accomp. orchestre -- Jazz
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Flûte traversière
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau très facile)
Clarinette
Téléchargez la partition Clarinette I Hear a Rhapsody (niveau très fa…
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Téléchargez la partition Clarinette I Hear a Rhapsody (niveau très facile) de George Fragos. Partition pour Clarinette avec accomp. orchestre -- Jazz
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Clarinette
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau intermédiaire)
Clarinette
Téléchargez la partition Clarinette I Hear a Rhapsody (niveau intermé…
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Téléchargez la partition Clarinette I Hear a Rhapsody (niveau intermédiaire) de George Fragos. Partition pour Clarinette avec accomp. orchestre -- Jazz
5.99 €
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Clarinette
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau très facile, sax alto)
Saxophone
Téléchargez la partition Saxophone I Hear a Rhapsody (niveau très fac…
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Téléchargez la partition Saxophone I Hear a Rhapsody (niveau très facile, sax alto) de George Fragos. Partition pour Saxophone avec accomp. orchestre -- Jazz
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Saxophone
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George Fragos
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I Hear a Rhapsody
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Tomplay
George Fragos : I Hear a Rhapsody (niveau intermédiaire)
Trombone
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Téléchargez la partition Trombone I Hear a Rhapsody (niveau intermédiaire) de George Fragos. Partition pour Trombone avec accomp. orchestre -- Jazz
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Trombone
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George Fragos
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I Hear a Rhapsody
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Tomplay
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