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Vous avez sélectionné:
Live and Let Die - Baritone T.C.
Partitions à imprimer
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Live and let die - Paul McCartney - Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
By Paul McCartney & Wings. Arranged by Thomas Graf. Score, Set of Parts. 25 page…
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By Paul McCartney & Wings. Arranged by Thomas Graf. Score, Set of Parts. 25 pages. Published by Thomas Graf - the-hit-factory.com
Live and Let Die is the main theme song of the 1973 James Bond film Live and Let Die, - by Paul and Linda McCartney, performed by the Wings. It was the most successful James Bond theme to that point, charting at No. 2 on the US Billboard Hot 100 and No. 9 on the UK Singles Chart. A must for your book! <br> <br> Instrumentation: Cornet 1/2 in Bb, Horn in Eb, Trombone in C/Bb, Bass in Bb/Eb <br> <br> Listen to the recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much! <br>
$14.99
13.86 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Paul McCartney & Wings
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Thomas Graf
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Wings
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Live and let die - Paul McCartney - Brass Quintet
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Claude Debussy: Sérénade for violin and piano
Violon et Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy…
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Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
$12.95
11.98 €
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Violon et Piano
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Op. 45, No. 14: Lettres, le seul repos from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-14E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-14E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-14E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.77 €
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Piano, Voix
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 45, No. 14: Lettres, le seul repos from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
All Creatures of our God and King Late Intermediate Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1417376 Composed by Lasst Uns Erfre…
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Piano Solo - Level 4 - Digital Download SKU: A0.1417376 Composed by Lasst Uns Erfreuen. Arranged by Amanda Tero. Christian,Religious,Sacred. Score. 10 pages. Amanda Tero #998921. Published by Amanda Tero (A0.1417376). Delight your audience with the All Creatures of our God and King piano solo, designed for late intermediate players. Ideal for church performances or recitals, this piece includes lively triplets in both hands, making it an exciting show-stopper.The late intermediate piano solo of All Creatures of our God and King includes popular elements like fast triplets, octaves, polyrhythms (2 against 3), and a dramatic ending.I arranged All Creatures of our God and King as a traditional hymn with a contemporary flair. The driving triplets give it a “rock†feel while low left hand octaves add depth of sound. There are a lot of patterns which makes this late intermediate solo easier to learn–the challenge is getting it up to speed fluently!For church services, recitals, and spring/summer music events, All Creatures of our God and King late intermediate piano sheet music solo will capture the listeners with delight and excitement.Similar in level to most Level 4-5 piano curricula and ABRSM Level 4.The basic format of All Creatures of our God and King late intermediate piano solo is: introduction, verse, interlude, verse, ending.6 pages. Key of C major.Approx. 2:00 performance time. Musical Elements In All Creatures of our God and King late intermediate piano solo Sheet Music Key of C major Time signature: 4/4 Tempo: fast, exuberant Note values: whole notes, dotted half notes, half notes, dotted quarter notes, quarter notes, eighth notes, eighth note triplets Note reading: right hand treble clef C4 to C7, left hand bass clef C1 to G4 Ledger lines (up to 5 lines) Harmonic octaves in left hand and right hand Triplets Polyrhythms (2 against 3; eighth notes vs. eighth note triplets) Fermata Practice Tips for All Creatures of our God and King late intermediate piano solo This is an exciting arrangement that the student may be tempted to play faster than possible. Encourage the student to breathe while they play to keep the tempo steady and manageable (I like recommending breathing in for one measure, out for one measure).There may be the temptation to have a heavy pulse for each beat, but focus on phrasing an entire measure or two.If the student struggles to bring out the measure for the first verse, experiment with “shadow playing,†where the student only plays the actual melody notes and “shadow plays†(puts their finger on the key, but doesn’t press down) all other notes.
$5.99
5.54 €
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Piano seul
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Lasst Uns Erfreuen
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Amanda Tero
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eighth notes vs
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All Creatures of our God and King Late Intermediate Piano Solo
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Amanda Tero
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SheetMusicPlus
The Devil's Elbow
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1050130 Composed by Calum Wood. C…
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C Instrument - Level 3 - Digital Download SKU: A0.1050130 Composed by Calum Wood. Celtic,Folk,Irish,Traditional. Lead Sheet / Fake Book. 1 pages. Calum Wood #654506. Published by Calum Wood (A0.1050130). Are you ready to add a bit of Scottish flair to your guitar playing? Look no further than The Devil's Elbow by Calum Wood. This traditional Scottish tune is a lively and energetic piece that will transport you to the rolling hills and misty glens of the Scottish countryside.Our guitar score of The Devil's Elbow features both TAB and music notation, making it accessible for players of all skill levels. Whether you're a seasoned guitarist or just starting out, you'll find this tune to be a fun and challenging addition to your repertoire.What sets our guitar score apart is its attention to detail and accuracy. We've taken great care to ensure that every note and chord is transcribed with precision, so you can play the song exactly as it was meant to be played. Plus, our score includes helpful tips and suggestions for adding your own personal flair and improvisation to the tune.With The Devil's Elbow in your repertoire, you'll be able to infuse your playing with the spirit and energy of Scottish folk music. The lively and upbeat melody will have your toes tapping and your audience dancing along, and you'll find yourself returning to it again and again for years to come.Don't miss out on the opportunity to add this classic Scottish tune to your collection. Order your guitar score of The Devil's Elbow today and take your guitar playing to the next level with the soulful and spirited sounds of Scotland!The Devil's Elbow is a winding and picturesque section of road located in the Scottish Highlands. The road, also known as the A93, runs between the towns of Blairgowrie and Braemar, and is considered one of the most challenging and scenic drives in Scotland.The origins of the name Devil's Elbow are unclear, but legend has it that the devil himself had a hand in shaping the road. According to folklore, the devil was tasked with creating a road through the hills of the Scottish Highlands, and he chose to build it along the most treacherous and winding path he could find. As he worked, he encountered a particularly difficult section of the road where the hills formed a sharp bend, and he bent the rocks to create a tight hairpin turn that became known as the Devil's Elbow.In reality, the road was likely shaped by centuries of erosion and human activity. The section of road that makes up the Devil's Elbow is part of a larger route that has been used for centuries by traders, farmers, and travelers crossing the Scottish Highlands. The road was improved and expanded over time, and the modern A93 was officially completed in 1932.Despite its treacherous reputation, the Devil's Elbow is a popular destination for tourists and driving enthusiasts. The road offers stunning views of the surrounding hills and valleys, and the hairpin turn at the Devil's Elbow is considered a particular challenge for drivers and cyclists.Today, the Devil's Elbow remains a beloved part of Scotland's landscape and history, and its legend continues to capture the imaginations of visitors and locals alike. Whether you're a traveler seeking adventure or a history buff looking to explore Scotland's rich cultural heritage, the Devil's Elbow is a must-see destination that will leave a lasting impression.
$1.99
1.84 €
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Instruments en Do
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Calum Wood
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The Devil's Elbow
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Calum Wood
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SheetMusicPlus
Don't Stop Believin' (Journey) for Double-strung Harp
Harpe
By Journey. Arranged by Karen Peterson. Sheet Music Single, Solo Part. 6 pages. Publis…
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By Journey. Arranged by Karen Peterson. Sheet Music Single, Solo Part. 6 pages. Published by Karen Peterson
Your audience’s memory of this Eighties rock anthem by Journey will be playing along in their head—from the original album, a live performance, The Sopranos, Glee, karaoke, or all of the above. But they’ve never heard it before on a harp.<br> <br> This arrangement makes good use of the double-strung by using both sides for repeated notes and letting the accompaniment hand overlap the melody. The result is beautiful but still ballsy.<br> <br> Range and key: F major (one flat). 23x2 strings. C below middle C through D.<br> Lever changes: None.<br> <br> Good for: Weddings, parties, performance, therapeutic settings.<br> <br> Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Finger placements are suggested for playing echoed notes with alternating hands to work around or emphasize ringing strings. Since the alternate-hand echoing is not required, it’s a great piece to learn this technique on.<br> <br> Characteristics: Arpeggios and a syncopated melody. The RH never places more than an octave spread; the LH places 1-9 twice. There are a few four-note chords (LH 1-3-5-8); the rest of the chords are three notes, usually not inversions. The RH has almost no chords. There are two bars of sixteenth notes that can easily be substituted for eighths. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has only two cross-overs.<br> <br> Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with “R” or “R#” when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with “L” or “L#” when they occur in the top staff). To see what I mean, view the PDF of finger placement examples in “Don’t Stop Believin’: www.EnjoyTheHarp.com/s/dont-stop-believin-notes-enjoy-the-harp.pdf<br> <br> Notation: Chord symbols and lyrics are provided. Treble clef in both staves. To avoid switching between bass clef and treble in the accompaniment, 8vb lines are used for the low Cs, Ds, and Es (which means that you play an octave below what’s written). Low Fs use 8vb sometimes, so if you see a lot of low ledger lines, don’t worry: it’s that F below middle C. Instead of counting the lines, you can look at the chord symbols to confirm.<br> <br> Length: 6 pages. 106 measures. 4:00–5:00 minutes, depending on tempo.<br> <br> Page turns: If you are printing, double-side pages 2-3 and 4-5 to minimize page turns. Line breaks have been made with printed or single-page-tablet turns in mind; you can pick up some accompaniment notes in the RH to turn with the LH.<br> <br> Analysis and performance notes at www.EnjoyTheHarp.com/dont-stop-believin
$6.99
6.46 €
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Harpe
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Journey
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Karen Peterson
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Don't Stop Believin'
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.69 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Sonata No. 6 "Kharkiv", Op. 48
Guitare
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh.…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
7.35 €
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Guitare
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
Hungarian Dance No. 5 for Euphonium (or Trombone) and Piano
Euphonium, Piano (duo)
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Dow…
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.528433 Composed by Johannes Brahms. Arranged by Diego Marani. Classical,Concert,Instructional,Romantic Period,Standards. Score and parts. 11 pages. Diego Marani #6014033. Published by Diego Marani (A0.528433). The Hungarian Dances (German: Ungarische Tänze) by Johannes Brahms (WoO 1), are a set of 21 lively dance tunes based mostly on Hungarian themes, completed in 1879. They are among Brahms's most popular works and were the most profitable for him. The better-known Hungarian Dances include Nos. 1 and 5, the latter of which was based on the csárdás Bártfai emlék (Memories of Bártfa) by Hungarian composer Béla Kéler, which Brahms mistakenly thought was a traditional folksong.This arrangement for Euphonium or Trombone (C and Bb) with piano accompaniment reflects faithfully the original.
$8.90
8.23 €
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Euphonium, Piano (duo)
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Johannes Brahms
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Diego Marani
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Hungarian Dance No. 5 for Euphonium
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Diego Marani
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SheetMusicPlus
I Can't Live Without You
Basse electrique
Bass Guitar - Level 2 - Digital Download SKU: A0.1269523 By Queen. By Brian May, Fr…
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Bass Guitar - Level 2 - Digital Download SKU: A0.1269523 By Queen. By Brian May, Freddie Mercury, John Deacon, and Roger Taylor. Arranged by Igor Sardi Bass. Pop,Rock. Score. 5 pages. Igor Sardi Bass #862034. Published by Igor Sardi Bass (A0.1269523). For version without tab, please contact me - igorsardi@gmail.comI transcribed about 1,000 songs, especially the bass and double bass lines. I will gradually publish them all on this site. My transcriptions are professional, done using only my skills and my ear. There is nothing copied. On my site (www.igorsardi.com) you can also find various collections (Queen, Jaco Pastorius, Flea, etc) and many teaching methods at unbelievable prices!Email:  igorsardi@gmail.comWebsite:  https://www.igorsardi.comInstagram: https://www.instagram.com/igor_sardi_bass/Facebook page:  https://www.facebook.com/igorsardibassFacebook: https://www.facebook.com/igor.sardiYoutube (Over 500 videos): https://www.youtube.com/c/IgorSardiBass36My didactic books:John Deacon: complete study - https://www.igorsardi.com/johndeacon-completestudy        Jaco Pastorius: complete study (volume 1 & 2) - https://www.igorsardi.com/jaco-pastoriusHarmony course - https://www.igorsardi.com/corso-armonia-applicata-per-bassisti  -Walking Bass: Progressive course - https://www.igorsardi.com/walking-bass-course 500 exercises for bass - https://www.igorsardi.com/500-exercises-for-bass Electric bass theory and practice - https://www.igorsardi.com/theory-and-practice-of-bass Setup: complete guide -  https://www.igorsardi.com/theelectricbassworkshop The Fretless Bass - https://www.igorsardi.com/fretless-bass-bookProfession Bass Player - https://www.igorsardi.com/profession-bassplayer Studying classical music on bass - https://www.igorsardi.com/studyingclassicalmusiconbass.
$7.99
7.39 €
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Basse electrique
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Queen
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Igor Sardi Bass
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2) - https://www
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I Can't Live Without You
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Igor Sardi Bass
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SheetMusicPlus
Les Dancites - Arranged by Na-Mara
Small Ensemble Flute,Guitar,Oboe,Piano,Ukulele,Violin - Digital Download SKU: A0.101301…
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Small Ensemble Flute,Guitar,Oboe,Piano,Ukulele,Violin - Digital Download SKU: A0.1013015 Composed by Traditional. Arranged by Na-Mara. Celtic,Folk,World. Score and parts. 1 pages. Na-Mara #5970309. Published by Na-Mara (A0.1013015). Les Dancites: this traditional folk tune from Asturias (Spain) is arranged for two melody instruments and is one of a number of folk tune arrangements by the UK based folk duo Na-Mara. Written in 3/8 time in the key of A, Les Dancites can be played as a duet on two mandolins or on any C clef instruments (violins, ukuleles, flutes etc), with the guitar chords accompanying the individual players. Performance tips: this is intermediate level piece played allegro or medium fast speed, however it is a waltz-like tempo so it doesn’t need to be played too fast. We have added a second melody part to the original tune, and this makes a nice interplay between the melody instruments. Both parts interplay and inter-wind so it is a good exercise to work on the balance between the two instruments, varying the dynamics on some of the repeated sections. The guitar accompaniment can be played with strummed chords. This make a nice set when it is coupled with our arrangement of the Spanish Asturian folk tune, La Casa‘l Señor Cura.Na-Mara (Rob Garcia and Paul McNamara) perform this instrumental piece on mandolin or octave mandola, with guitar accompaniment. They have also used it alongside other tunes in workshops as a teaching and learning resource, introducing players to tunes from different parts of the Celtic world. Recordings of this and other tunes on SMP can be found on Na-Mara’s albums ‘Sisters & Brothers’, ‘Navajos & Pirates’ and ‘The Bite’ Na-Mara have built an enviable reputation for fine story-telling and musicianship. They have performed in venues and festivals in the UK, Europe and China, and on BBC Radio 4, and a plethora of internet and local radio stations. They have consistently delivered new and exciting material to audiences. This includes their own take on traditional tunes from Brittany, France, Ireland, and the Spanish Celtic regions of Asturias and Galicia. Rob Garcia: mandolin, octave mandola, classical guitar & backing vocals Paul McNamara: guitar & lead vocals Web site: http://www.na-mara.com/
$1.99
1.84 €
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Traditional
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Na-Mara
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Les Dancites - Arranged by Na-Mara
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Na-Mara
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SheetMusicPlus
The Sleeping Beauty, Op. 66: Act 1 - Valse
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1247685 Composed by Peter Ilyich …
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C Instrument - Level 3 - Digital Download SKU: A0.1247685 Composed by Peter Ilyich Tchaikovsky. Arranged by Isabel Oliveira Hill. Romantic Period,Wedding. Lead Sheet / Fake Book. 5 pages. Cunaguaro Music #842238. Published by Cunaguaro Music (A0.1247685). Discover the enchanting beauty of Tchaikovsky's timeless masterpiece with our exquisite sheet music for the Waltz from The Sleeping Beauty. Immerse yourself in the romantic atmosphere of this iconic ballet as you gracefully navigate the delicate melodies and intricate chord progressions.Our meticulously crafted sheet music includes both the melody and chord notations, allowing musicians of all levels to delve into this captivating composition. Whether you're an aspiring pianist, guitarist, or simply a music enthusiast, this sheet music will transport you to the magical world of Princess Aurora and Prince Florimund.Experience the sheer elegance and grandeur of Tchaikovsky's music as you bring this beloved waltz to life. Whether you're performing on a stage, playing for personal enjoyment, or teaching others, this sheet music will be your trusted companion.The high-quality notation captures every nuance of Tchaikovsky's original composition, providing an authentic and rewarding playing experience. Immerse yourself in the enchanting melodies, and let the timeless beauty of The Sleeping Beauty Waltz resonate with your heart and soul.Don't miss this opportunity to own a piece of musical history. Purchase our sheet music for the Waltz from The Sleeping Beauty today and embark on a captivating journey through Tchaikovsky's enchanting masterpiece!
$4.49
4.15 €
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Instruments en Do
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Peter Ilyich Tchaikovsky
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Isabel Oliveira Hill
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The Sleeping Beauty, Op. 66: Act 1 - Valse
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Cunaguaro Music
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SheetMusicPlus
Pearl
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015832 Composed by Jean-FranÃ…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015832 Composed by Jean-François Côté. Pop/Rock. 9 pages. Alfred Music - Digital Sheet Music #00-PS-0015832. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015832). ISBN 9781470617059. UPC: 038081486901.Cirque du Soleil, French for Circus of the Sun, is a unique entertainment venture that has been thrilling audiences since its inception by two street performers over 20 years ago. This amazing fusion of circus, acrobatics, and theater has also produced a breathtaking repertoire of original music ranging in style from classical Impressionism to modern pop and rock. Alfred Music now introduces the music to some of Cirque du Soleil's most popular songs, derived from a variety of show soundtracks. This updated volume includes selections from TOTEM, KOOZA, OVO, KAEUR, and O. Songs come complete with lyrics, melody line, and chord changes with professionally arranged piano accompaniment. Titles: AlegrAa (from AlegrAa) * All Come Together (from Amaluna) * Alone (from DELIRIUM) * Banquete (from OVO) * Blue Silk (from ZED) * Flying Scarlett (from IRIS - A Journey Through the World of Cinema) * Gamelan (from O) * If I Could Reach Your Heart (from KAEUR) * KumbalawA(c) (from Saltimbanco) * Kunya SobA(c) (from MystAre Live) * Let Me Fall (from Quidam) * Liama (from La Nouba) * Love Dance (from KAEUR) * Mio Bello Bello Amore (from Zumanity: Another Side of Cirque du Soleil) * Nostalgie (from O) * O (from O) * Ombra (from Dralion) * OmA(c) Yo KanoubA(c) (from TOTEM) * Pageant (from KAEUR) * Pearl (from KOOZA) * PokinoA- (from Saltimbanco) * QuA(c) ViyA(c)ra (from TOTEM) * Querer (from AlegrAa) * Quidam (from Quidam) * Solitude (from KOOZA) * Time Flies (from DELIRIUM) * Triangle Tango (from Corteo).
$3.99
3.69 €
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Piano, Voix et Guitare
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Jean-François Côté
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Pearl
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Solitude
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015825 Composed by Jean-FranÃ…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015825 Composed by Jean-François Côté. Pop/Rock. 6 pages. Alfred Music - Digital Sheet Music #00-PS-0015825. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015825). ISBN 9781470617059. UPC: 038081486901.Cirque du Soleil, French for Circus of the Sun, is a unique entertainment venture that has been thrilling audiences since its inception by two street performers over 20 years ago. This amazing fusion of circus, acrobatics, and theater has also produced a breathtaking repertoire of original music ranging in style from classical Impressionism to modern pop and rock. Alfred Music now introduces the music to some of Cirque du Soleil's most popular songs, derived from a variety of show soundtracks. This updated volume includes selections from TOTEM, KOOZA, OVO, KAEUR, and O. Songs come complete with lyrics, melody line, and chord changes with professionally arranged piano accompaniment. Titles: AlegrAa (from AlegrAa) * All Come Together (from Amaluna) * Alone (from DELIRIUM) * Banquete (from OVO) * Blue Silk (from ZED) * Flying Scarlett (from IRIS - A Journey Through the World of Cinema) * Gamelan (from O) * If I Could Reach Your Heart (from KAEUR) * KumbalawA(c) (from Saltimbanco) * Kunya SobA(c) (from MystAre Live) * Let Me Fall (from Quidam) * Liama (from La Nouba) * Love Dance (from KAEUR) * Mio Bello Bello Amore (from Zumanity: Another Side of Cirque du Soleil) * Nostalgie (from O) * O (from O) * Ombra (from Dralion) * OmA(c) Yo KanoubA(c) (from TOTEM) * Pageant (from KAEUR) * Pearl (from KOOZA) * PokinoA- (from Saltimbanco) * QuA(c) ViyA(c)ra (from TOTEM) * Querer (from AlegrAa) * Quidam (from Quidam) * Solitude (from KOOZA) * Time Flies (from DELIRIUM) * Triangle Tango (from Corteo).
$3.99
3.69 €
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Piano, Voix et Guitare
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Jean-François Côté
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Solitude
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Allegro - Score Only
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Level 3 - Digital Download SKU: A0.1372446 By Solo Trumpet Player. …
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Brass Quintet - Level 3 - Digital Download SKU: A0.1372446 By Solo Trumpet Player. By Franz Schubert. Arranged by ed. W Beeler & orchestration by Peet du Toit. Classical. 4 pages. Peet du Toit #956746. Published by Peet du Toit (A0.1372446). Franz Peter Schubert (German: [fÊants ˈpeËtÉ ËˆÊƒuËbÉt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music. His major works include the art songs Erlkönig, Gretchen am Spinnrade, Ave Maria; the Trout Quintet, the unfinished Symphony No. 8 in B minor, the Great Symphony No. 9 in C major, the String Quartet No. 14 Death and the Maiden, a String Quintet, the two sets of Impromptus for solo piano, the three last piano sonatas, the Fantasia in F minor for piano four hands, the opera Fierrabras, the incidental music to the play Rosamunde, and the song cycles Die schöne Müllerin, Winterreise and Schwanengesang.Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed.
$17.00
15.72 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Solo Trumpet Player
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ed
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Allegro - Score Only
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Peet du Toit
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SheetMusicPlus
Angelus (arr. for Brass Quintet)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1319833
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1319833 By Bruce Steane. By Bruce Steane (1866-1938). Arranged by Andrew Lamb. 19th Century,Chamber,Christian,Praise & Worship,Religious. 40 pages. Andrew Lamb #908391. Published by Andrew Lamb (A0.1319833). 🎺 Elevate your Brass Quintet repertoire with the enchanting adaptation of Angelus by Bruce Steane! 🎶 Crafted for 2 Trumpets, French Horn, Trombone, and Tuba, this arrangement by Andrew Lamb brings a divine touch to your performance. 🌟 With substitute parts for Tenor Horn, Trombone T.C., Eb Bass, and Bb Bass, plus the option to play Trumpet parts on Cornet, the arrangement offers unparalleled flexibility. 🎼🔗 Level of Difficulty: Medium, making it accessible for a wide range of ensembles. 🎺 Ideal for both concert performances and as an Introductory Voluntary during religious services. 🙠Immerse your audience in the rich harmonies and melodic beauty of Steane's composition, expertly adapted for the brilliance of Brass Quintet. 🎺🎶🌈 Unleash the full potential of this arrangement and captivate your listeners with the spiritual essence of Angelus. 🎺✨ Enhance your ensemble's versatility with these meticulously crafted parts that honor Bruce Steane's legacy. 🎹🔗 Potential Uses: Concert Performances 🎵 Religious Services as Introductory Voluntary ðŸ•Šï¸ ðŸ‘‰ Dive into the soulful sounds of Angelus and let this arrangement resonate with the spirit of Bruce Steane's musical genius. 🎺🌌📚 About Bruce Steane: Bruce Steane, a distinguished British organist and composer, left an indelible mark on classical music. Born in 1866, Steane's musical journey began at the age of 3, and his prolific career included positions at notable churches and institutions. 🎹 With around 400 compositions to his name, including anthems, church services, and organ pieces, Steane's legacy lives on through his timeless creations.👠Please like and subscribe for more videos and sheet music arrangements. 🎵✨
$8.00
7.4 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Bruce Steane
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Andrew Lamb
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Angelus
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Andrew Lamb
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SheetMusicPlus
Say Something
C Instrument - Level 2 - Digital Download SKU: A0.1417312 By A Great Big World. By …
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C Instrument - Level 2 - Digital Download SKU: A0.1417312 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by B. McCormick. Pop,Singer/Songwriter. Lead Sheet / Fake Book. 5 pages. B. McCormick #998860. Published by B. McCormick (A0.1417312). About the Song “Say Something†is an emotional piano ballad that tugs at the heartstrings. Originally penned by indie band A Great Big World, it gained widespread recognition when powerhouse vocalist Christina Aguilera lent her voice to a haunting duet version. Here’s what you need to know: Origins: Written by duo members Ian Axel and Chad King, alongside Mike Campbell, the song was initially recorded by Axel for his solo album This Is the New Year (2011). Later, A Great Big World reimagined it for their debut album Is There Anybody Out There? (2013) .After Aguilera performed the song on The Voice, it skyrocketed to fame. The struggle of giving up on a relationship is beautifully encapsulated in the plea to “say something†and salvage what’s slipping away .At the 57th Annual Grammy Awards, “Say Something†clinched the coveted Best Pop Duo/Group Performance award, showcasing its impact and emotional resonance .Why Choose This Sheet Music? Authentic Arrangement: Our lead sheet and guitar chord sheet faithfully capture the essence of the original recording. Whether you’re a solo performer or part of a band, you’ll find the arrangement true to the song’s soulful vibe. Easy to Play: Guitarists will appreciate the clear chord diagrams and strumming patterns provided. Even beginners can master this heartfelt tune. Teaching Tool: If you’re an educator, use this sheet music to teach your students about song structure, dynamics, and emotional expression. Perfect for Covers: Whether you’re performing at a coffee shop, a virtual concert, or a cozy gathering, “Say Something†resonates with audiences. It’s a timeless choice for covers and live performances. Potential Uses Weddings: Picture a tender moment during the wedding ceremony or first dance. “Say Something†sets the mood beautifully. YouTube Covers: Create captivating content by recording your own rendition. Share it with the world! Music Classes: Use it as a teaching aid in vocal or instrumental lessons. Emotional Film Scenes: Filmmakers, take note—this song adds depth to poignant scenes. Get Your Copy Today Don’t miss out on this heartfelt piece. Download your “Say Something†lead sheet and guitar chord sheet now. Let the music speak for itself. Connect with Us! Follow us on social media to stay updated on new releases, musical tips, and exclusive content: You can connect on most social media through our handle: @ResourcefulArrangementsÂ
$4.99
4.61 €
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A Great Big World
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B
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Say Something
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B. McCormick
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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
23.12 €
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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
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