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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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FLAMENCO
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FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
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MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
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Musicnotes
Note4Piano
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SheetMusicPlus
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Virtualsheetmusic
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Prix + au -
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difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
16296
PIANO & CLAVIERS
Piano seul
12053
Piano Facile
4326
Piano, Voix
3549
Piano grosses notes
3060
Orgue
2087
Instruments en Do
1937
Piano, Voix et Guitare
1282
Accompagnement Piano
818
1 Piano, 4 mains
411
Piano Trio: piano, violon, violoncelle
187
Piano (partie séparée)
109
Accordéon
83
2 Pianos, 4 mains
76
Piano Quatuor: piano, violon, alto, violoncelle
61
Clavier
54
Orgue, Trompette (duo)
27
1 Piano, 6 mains
24
Piano Quatuor: piano, 2 violons, violoncelle
21
Piano Quintette: piano, 2 violons, alto, violoncelle
21
Orgue, Piano (duo)
19
Clavecin
17
2 Pianos, 8 mains
6
Accordéon, Voix
2
Ensemble d'Accordéons
2
Instrument seul et Orgue
2
Tous Les Instruments
2
Ensemble de Pianos
2
Ligne De Mélodie, Piano
1
2 Accordéons
1
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
47953
Guitare notes et tablatures
1831
Guitare
1382
Ukulele
411
Piano, Guitare (duo)
217
Guitare (partie séparée)
203
Dulcimer
157
2 Guitares (duo)
131
Basse electrique
122
Paroles et Accords
84
Mandoline
82
Banjo
73
4 Guitares (Quatuor)
38
3 Guitares (trio)
21
Ensemble de guitares
15
Guitare Pedal Steel
14
2 Dulcimers (duo)
13
2 Ukuleles
11
Mandoline, Guitare (duo)
6
Guitare, Violon, Violoncelle (trio)
4
Basse électrique (partie séparée)
3
Luth
1
3 Dulcimers (trio)
1
2 Mandolines (duo)
1
Guitare, Orchestre
1
Dobro
1
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VOIX
Chorale SATB
3684
Chorale 3 parties
1554
Chorale 2 parties
1207
Chorale Unison
861
Chorale TTBB
770
Chorale SSAA
643
Voix haute
457
Voix seule
422
Voix duo, Piano
266
Voix duo
133
Voix Alto, Piano
50
Voix Tenor
39
Voix Tenor, Piano
34
Voix Soprano, Piano
34
Voix Soprano
31
Chorale
24
Voix moyenne, Piano
20
Voix basse, Piano
18
Chorale SSAATTBB
11
Chorale SSATB
10
Voix, Guitare
7
Voix basse
5
Chorale SSAB, Piano
5
Voix Moyenne
3
Soli, choeur mixte et accompagnement
3
Chorale SSATTB
3
Voix Mezzo-Soprano, Piano
2
Chorale SATTBB A Cappella
1
Voix Soprano, Orchestre
1
Voix Baryton, Piano
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière et Piano
1448
Saxophone (partie séparée)
1300
Hautbois, Piano (duo)
1045
Clarinette
1003
Clarinette et Piano
994
2 Saxophones (duo)
941
Quatuor de Saxophones: 4 saxophones
930
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
907
Flûte, Hautbois, Clarinette, Basson
786
Flûte traversière
785
Saxophone Alto et Piano
758
Saxophone Alto
656
Saxophone Tenor et Piano
587
2 Flûtes traversières (duo)
569
Quintette de Saxophone: 5 saxophones
554
2 Clarinettes (duo)
544
Quatuor de Clarinettes: 4 clarinettes
530
Hautbois (partie séparée)
423
Flûte, Clarinette (duo)
286
Saxophone Soprano et Piano
279
Instruments en Mib
234
Saxophone, Clarinette (duo)
215
Saxophone Baryton, Piano
212
2 Hautbois (duo)
212
Quatuor de Flûtes : 4 flûtes
208
Clarinette, Violon (duo)
190
Hautbois, Basson (duo)
175
3 Clarinettes (trio)
164
2 Flûte à bec (duo)
163
Clarinette (partie séparée)
161
3 Saxophones (trio)
151
Hautbois, Clarinette (duo)
150
Clarinette, Trompette (duo)
150
Flûte et Guitare
148
Flute (partie séparée)
137
Ensemble de Clarinettes
136
Quintette de Clarinettes: 5 clarinettes
134
Hautbois
133
Clarinette, Harpe (duo)
130
Flûte, Violon
125
Trio de Flûtes: 3 flûtes
122
Saxophone Tenor
120
Ensemble de saxophones
112
Cor anglais, Piano
99
Ensemble de Flûtes
98
Clarinette et Alto
97
Flûte à bec Soprano
93
Flûte, Alto (duo)
91
Clarinette, Basson (duo)
91
Hautbois, Flûte
85
Quintette de Flûte : 5 flûtes
85
Flûte à Bec
82
Flûte, Violoncelle
79
Flûte, Saxophone (duo)
77
Hautbois, Violoncelle
64
Clarinette Basse, Piano
63
Clarinette, Violoncelle (duo)
61
Ensemble De Flûte à bec
60
Flûte, Clarinette et Basson
59
Flûte, Trompette (duo)
57
Flûte, Hautbois (duo)
56
Saxophone Soprano
55
Flûte, Hautbois, Clarinette (trio)
54
Saxophone Baryton
54
Flûte à bec Alto
53
Quatuor de Flûtes à bec
51
Clarinette, Guitare (duo)
51
Flûte, Violon, Piano
49
2 Flûtes traversières, Piano
46
Cor Anglais
39
Hautbois, Clarinette, Basson (trio d'anches)
38
Hautbois, violon (duo)
38
Flûte, Clarinette, Piano (trio)
37
Flûte à bec Tenor
32
3 Flûtes à bec (trio)
32
Flûte, Violoncelle, Piano (trio)
30
Hautbois et alto (duo)
29
Flûte, Basson et Piano
29
Flûte, Hautbois, Basson
29
Harmonica
27
Saxophone et Guitare
26
Saxophone
25
Clarinette, Violoncelle, Piano (trio)
21
5 Flûtes à bec
20
Piccolo
19
2 Clarinettes, Piano
19
Hautbois, Harpe
19
Flûte, Violon et Violoncelle
18
Cor anglais, Guitare (duo)
17
Saxophone et Harpe
17
Flûte, Clarinette, Cor, Basson (Quartet)
16
Saxophone et Piano
16
Flûte, Alto et Piano
14
Flûte, Hautbois, Piano (trio)
14
Flûte à bec Soprano, Piano
12
Clarinette, Basson, Piano (trio)
12
Hautbois, Violoncelle et Piano
12
2 Harmonicas
11
Flute, harpe et violon
11
Piccolo, Piano
11
Flûte, Trombone (duo)
11
2 Saxophones, Piano
10
Clarinette, Contrebasse (duo)
10
Clarinette, Tuba
9
Flûte à bec Alto, Piano
8
Flûte et Trio à cordes
8
Flûte traversière, Orgue (duo)
8
Flûte, Violon, Violoncelle et Piano
7
Hautbois, Basson et Piano
7
Hautbois, Violon, Piano
7
Clarinette, Alto et Piano (trio)
7
Hautbois, Guitare (duo)
7
Flûte, trombone et piano
6
Flûte à Bec, Piano
6
Melodica
5
Hautbois, trombone (duo)
5
Flûte irlandaise
5
Saxophone et Orgue
5
2 Cors Anglais Et Pianoforte
5
Flûte, Harpe et Violoncelle
4
Flûte, Tuba (duo)
4
2 Hautbois, Piano
4
Clarinette, trompette et piano
4
Clarinette, Orgue
4
3 Hautbois
4
2 Clarinettes, Basson
4
Clarinette, Trombone (duo)
4
Flûte, alto et harpe
3
Flûte, Guitare, Piano
3
Cornemuse
3
Flûte traversière, Basse continue
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Ensemble à vent
3
Clarinette Basse
3
4 Hautbois
3
Saxophone et violoncelle
2
Flûte à bec, Harpe
2
Flûte, Clarinette, Violon (trio)
2
Flûte, Violoncelle, Guitare
2
Flûte, Hautbois, Violon
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Flûte et Quatuor à Cordes
2
Flûte de Pan
1
Saxophone, Basson (duo)
1
Flûte à bec, Guitare (duo)
1
Ensemble de Hautbois
1
Flûte à bec Alto, Basse continue
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Cor anglais et Harpe (duo)
1
2 Flûtes traversières, Guitare
1
2 Flûtes à bec, Piano
1
Ocarina
1
2 Hautbois, 2 Cors et 2 Bassons
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
977
Trompette
813
Trombone et Piano
753
Trompette, Piano
734
Cor et Piano
547
Trombone (partie séparée)
541
Trombone
538
Quatuor de Cuivres : 2 trompettes, trombone, tuba
496
Trompette (partie séparée)
470
Cor
440
Tuba
375
Tuba et Piano
308
2 Trombones (duo)
302
2 Trompettes (duo)
282
Quatuor de Cuivres
239
Bass Clef Instruments
207
Trompette, Trombone (duo)
202
Quatuor de Cuivres: 2 trompettes, Cor, trombone
199
2 Cors (duo)
171
Instruments en Sib
166
Trompette, Saxophone (duo)
152
Cor (partie séparée)
148
Euphonium, Piano (duo)
130
Tuba (partie séparée)
116
Cor anglais, Piano
99
Quatuor de cuivres: 4 trombones
99
2 Tubas (duo)
88
Trompette, Cor (duo)
75
Quatuor de cuivres: 4 cors
62
Ensemble de Trombones
54
Cor Anglais
39
Tuba et Orgue
32
Euphonium
32
Ensemble de Trompettes
30
2 Euphoniums et 2 Tubas
26
Ensemble de Cors
26
3 Trombones (trio)
25
Trompette, Tuba (duo)
25
Cor et Harpe
24
Quatuor de cuivres: 4 trompettes
24
Trio de Cuivres
23
Euphonium, Tuba (duo)
20
Trompette, Harpe
20
Trompette, Violoncelle (duo)
20
Trompette, Basson (duo)
18
Cor anglais, Guitare (duo)
17
Trombone, Cor (duo)
16
4 Tubas
16
2 Euphoniums (duo)
16
3 Trompettes (trio)
14
Clarinette, Cor (duo)
12
Cor, Violoncelle (duo)
12
Cor et Basson (duo)
11
3 Cors (trio)
11
Cor, Tuba (duo)
10
Trompette et Guitare
9
Trombone, Tuba (duo)
9
Trompette, Trombone, Piano
8
Trombone, Orgue
8
2 Trompettes, Clavier (piano ou orgue)
8
Trombone basse
8
3 Tubas (trio)
7
Trombone basse et Piano
6
Quatuor de cuivres: 2 trompettes, 2 trombones
5
Trompette, violon (duo)
5
2 Cors Anglais Et Pianoforte
5
2 Cors, Piano
4
Trombone, Violon (duo)
4
3 Euphoniums
2
Cor et Orgue
2
Instruments en Fa
2
Cor, Violoncelle et Piano
1
4 Euphoniums
1
Trombone et orchestre
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Bugle
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2514
Violon et Piano
1889
Violon
1295
Violoncelle, Piano
1127
Alto, Piano
1011
Harpe
925
Violoncelle (partie séparée)
702
Violon, Violoncelle (duo)
670
Alto seul
577
2 Violons (duo)
546
Trio à Cordes: violon, alto, violoncelle
437
2 Violoncelles (duo)
424
Quintette à cordes: 2 violons, alto, violoncelle, basse
374
Violon, Alto (duo)
346
Contre Basse
336
Contrebasse, Piano (duo)
309
2 Altos (duo)
299
Violoncelle
282
Harpe, Flûte (duo)
239
Violon (partie séparée)
238
2 Harpes (duo)
222
Alto (partie séparée)
221
Contrebasse (partie séparée)
175
Alto, Violoncelle (duo)
170
Trio à Cordes: 2 violons, violoncelle
167
Harpe, Violon (duo)
126
Violon, Guitare (duo)
92
4 Violoncelles
77
Piano Trio: Violon, Alto, Piano
72
2 Contrebasses (duo)
72
Violon, Basson (duo)
51
Violoncelle, Contrebasse (duo)
42
Trio à Cordes: 3 violoncelles
38
Violoncelle , Guitare (duo)
37
Trio à cordes: 3 violins
31
Harpe, Violoncelle (duo)
26
Alto et Basson
25
Trio à Cordes: 2 violons, alto
21
Alto et Harpe
21
Quatuor à cordes: 4 violons
21
Violon, Clarinette, Piano (trio)
19
Trio à cordes: 3 altos
17
Alto, Guitare (duo)
15
Quatuor à cordes : 4 altos
15
Ensemble de Violons
14
Harpe, Voix
14
Ensemble d'Altos
13
Quintette à cordes: 2 violons, 2 altos, violoncelle
11
Violoncelle, Orgue
11
Flûte, Contrebasse (duo)
11
Autoharp
8
Violon, Orgue
8
2 Violons, Piano
7
Harpe, Violon, Violoncelle
6
Violon, Tuba (duo)
5
2 Altos, Piano
4
4 Contrebasses
4
Violon, Trompette et Piano
4
2 Violoncelles, Piano
4
Ensemble de Violoncelles
4
Harpe et Piano
4
4 Harpes
3
Alto, Orgue
3
3 Harpes
3
Harpe et mandoline
2
Violoncelle, Basse continue
2
3 Contrebasses
1
Harpe, Trombone (duo)
1
Violon, Violoncelle, Clarinette
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
5735
Orchestre à Cordes
1211
Cloches
699
Orchestre
554
Ensemble Jazz
492
Ensemble de cuivres
420
Orchestre de chambre
201
Jazz combo
143
Batterie (partie séparée)
121
Ensemble de Percussions
97
Percussion (partie séparée)
84
Marimba
62
Xylophone
53
Batterie
52
Fanfare
51
Vibraphone
29
Xylophone, Piano
28
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
21
Ensemble d'École
5
Percussion
4
Quintette à Vent
3
Marimba, Piano (duo)
3
Piano et Orchestre
3
Vibraphone et Marimba
3
Instrumentation Flexible
2
Timbales (partie séparée)
2
Big band
1
2 Marimbas
1
Quintette de Cuivres: autres combinaisons
1
Quatuor à Vent : 4 instruments à vents
1
Xylophone ou Marimba ou Vibraphone
1
Orchestre, Violon
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
3
Théorie de la musique
1
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9976
La Formation Musicale Tout Simplement Volume 3
Formation musicale - Solfège
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
(+)
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European, Children's Musicals. Individual Part. 42 pages. Published by MCM Editions Musicales
This methodis for third Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> third year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Horizontal and vertical readingnotes<br> - Reading by the directory<br> - Reading rhythm<br> - Rhythm struck hands together one voice and two voice<br> - Rhythm struck and read by the directory<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$29.00
26.78 €
#
Formation musicale - Solfège
#
Christian Champeil
#
La Formation Musicale Tout Simplement Volume 3
#
MCM Editions Musicales
#
SheetMusicPlus
La Formation Musicale Tout Simplement Volume 4
Formation musicale - Solfège
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
(+)
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European. Individual Part. 42 pages. Published by MCM Editions Musicales France
This methodis for fourth Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> fourth year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Readingnotes horizontal and vertical<br> - Reading rhythm by the directory<br> - Rhythm struck hands together one voice two voice<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$29.00
26.78 €
#
Formation musicale - Solfège
#
Christian Champeil
#
La Formation Musicale Tout Simplement Volume 4
#
MCM Editions Musicales France
#
SheetMusicPlus
📄 Storia della Musica (Dalle origini al XX secolo)
Ligne De Mélodie, (Paroles) et Accords
C Instrument - Level 3 - Digital Download SKU: A0.1105055 By Andrea Balzani. By And…
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C Instrument - Level 3 - Digital Download SKU: A0.1105055 By Andrea Balzani. By Andrea Balzani. Classical,Early Music,Historic,Medieval,Opera. Lead Sheet / Fake Book. 183 pages. Andrea Balzani #708300. Published by Andrea Balzani (A0.1105055). 👉  Dispensa di Storia della Musica (dispensa didattica)Language: ITALIAN 🇮🇹 ➡ï¸â€ŠLinktree: https://linktr.ee/AndreaBalzani Contenuti:- TESI n. 1 ◾  Origini monogenetiche della musica ed Etnomusicologia- TESI n. 2 ◾  Le Musiche dei popoli antichi e la musica ebraica - TESI n. 3 ◾  L'Antica musica Greca- TESI n. 4 ◾  Il Canto Cristiano e il Gregoriano - TESI n. 5 ◾  La Polifonia medioevale e l'Ars Antiqua- TESI n. 6 ◾  La Notazione musicale  - TESI n. 7 ◾  Guido d'Arezzo e la Teoria Medioevale - TESI n. 8 ◾  Canti sacri e profani, Trovatori, Trovieri e Minnesangers - TESI n. 9 ◾  Il Trecento: L'Ars Nova- TESI n. 10 ◾  Le Scuole fiamminghe del Quattrocento  - TESI n. 11 ◾  La Musica nel Rinascimento e la Polifonia sacra - TESI n. 12 ◾  Le Forme musicali dal XIII sec. al XVI sec.  - TESI n. 13 ◾  I Trattatisti e gli strumenti nel Rinascimento - TESI n. 14 ◾  La Nascita dell'Opera e la Camerata Bardi - TESI n. 15 ◾  L'Oratorio e la Musica sacra- TESI n. 16 ◾  L'Opera Italiana nel Seicento a Roma e Venezia - TESI n. 17 ◾  L'Opera Italiana nel Settecento in Italia e in Europa . - TESI n. 18 ◾  L'Opera seria e l'Opera buffa- TESI n. 19 ◾  Le riforme dell'Opera italiana : Gluck e Calzabigi - TESI n. 20 â—¾  L'Opera in Francia, Germania, Austria ed Inghilterra - TESI n. 21 ◾  L'Opera Italiana in Europa nel Seicento e Settecento- TESI n. 22 ◾  L'Opera nell'Ottocento: Rossini, Donizetti, Bellini, Verdi - TESI n. 23 ◾  Wagner : vita, opere e pensiero  - TESI n. 24 ◾  Musica, forme e strumenti del primo barocco - TESI n. 25 ◾  Il Barocco di mezzo : la Suite, la Sonata, Corelli  - TESI n. 26 ◾  Il Concerto, Vivaldi e Scarlatti   - TESI n. 27 ◾  J.S.Bach, Haendel, le scuole organistiche tedesche- TESI n. 28 ◾  Il Rococò e lÂ’Età Classica: Haydn, Mozart, Beethoven- TESI n. 29 ◾  Il Romanticismo: le forme ed i musicisti romantici   - TESI n. 30 ◾  La musica strumentale nella seconda Ottocento    - TESI n. 31 ◾  Le Scuole Nazionali      - TESI n. 32 ◾  Il Novecento, la Dodecafonia e la Musica elettronica  ✉ï¸â€Šâ€ŠContact: andreabalzani.workinprogress@gmail.com
$4.99
4.61 €
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Ligne De Mélodie, (Paroles) et Accords
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Andrea Balzani
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📄 Storia della Musica
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Andrea Balzani
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SheetMusicPlus
Last Saturday Night (Chord Melody Guitar Solo)
Composed by McCorkle, Dennis F. Jazz, Swing, TV, Repertoire, General Instructional. Lead S…
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Composed by McCorkle, Dennis F. Jazz, Swing, TV, Repertoire, General Instructional. Lead Sheet, Tablature. 33 pages. Published by DF McCorkle Music and eBook Publications (S0.39853). - Lead Sheet,Tablature - Jazz,Swing,TV,Repertoire,General Instructional - DF McCorkle Music and eBook Publications
$4.99
4.61 €
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McCorkle, Dennis F
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Last Saturday Night
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.15 €
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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
Melodies
Orchestre
Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: stu…
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Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 12 minutes. Schott Music - Digital #Q23904. Published by Schott Music - Digital
I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)<br> <br> This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.
$22.99
21.23 €
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Orchestre
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Gyorgy Ligeti (1923-2006)
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Melodies
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Schott Music - Digital
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SheetMusicPlus
36 Melodious and Easy Studies
Alto seul
Viola - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This …
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Viola - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Etudes, Studies, Study works. Essential Exercises. Downloadable. Op. 84. Schott Music - Digital #Q22681. Published by Schott Music - Digital
Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.<br> Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.<br> Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.<br> A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.
$16.99
15.69 €
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Alto seul
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Charles Dancla (1817-1907)
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36 Melodious and Easy Studies
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Schott Music - Digital
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SheetMusicPlus
Voice Motion Melodic Movement Within Three-Part Harmony
Formation musicale - Solfège
Theory. Jazz. Ebook and online audio. 316 pages. Mel Bay Publications - Digital Sheet …
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Theory. Jazz. Ebook and online audio. 316 pages. Mel Bay Publications - Digital Sheet Music #30903MEB. Published by Mel Bay Publications - Digital Sheet Music
$34.99
32.31 €
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Formation musicale - Solfège
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Voice Motion Melodic Movement Within Three-Part Harmony
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
36 Melodious and Easy Studies
Violon
Violin - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This…
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Violin - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Essential Exercises. Downloadable. Op. 84. Schott Music - Digital #Q11448. Published by Schott Music - Digital
Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.<br> Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.
$16.99
15.69 €
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Violon
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Charles Dancla (1817-1907)
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36 Melodious and Easy Studies
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Schott Music - Digital
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SheetMusicPlus
Game Of Thrones
Melodica
Melodica - Early Intermediate - Digital Download By Ramin Djawadi. Arranged by Andr&e…
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Melodica - Early Intermediate - Digital Download By Ramin Djawadi. Arranged by André Sant'Anna. Score. 5 pages. Published by Firenze Editions
Arrangement for two alto melodicas with 32 or 37 keys. The first melodica can be played by an early intermediate while the second can be played by an intermediate one. The first melodica can also be replaced by an alto baroque flute (just play the higher notes when they are harmonized).<br> It's appropriatte for school and students.<br> 1'48''.
$4.99
4.61 €
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Melodica
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Ramin Djawadi
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André Sant'Anna
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Sant'
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Game Of Thrones
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Firenze Editions
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SheetMusicPlus
Very Easy Melodious Exercises
Violon et Piano
Violin and piano - very easy to easy - Digital Download Composed by Edward Elgar (185…
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Violin and piano - very easy to easy - Digital Download Composed by Edward Elgar (1857-1934). This edition: score and part. Schott Student Edition - Repertoire. Downloadable. Op. 22. Schott Music - Digital #Q45282. Published by Schott Music - Digital
German - English - French.<br> <br> <br> Mostly remembered for his great compositions, during his life Edward Elgar was also a violin teacher.<br> <br> These six short studies, presented in a progressive order of didactic difficulty, are, despite their simplicity, very musical. They can be played in the first position, but require the knowledge of all fingering patterns. The compositions are set in C major, A minor and G major with occasional modulations.<br> <br> They are ideal practice-pieces to encourage confident reading and playing in various (and often neglected) fingering patterns. At the same time, they promote the understanding of different metres and characters.<br> <br> This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:<br> <br> In print or electronic format<br> Available as printed editions or PDF download<br> <br> Practising - efficiently and with pleasure:<br> Accompanying tracks of the pieces available as downloads.
$9.99
9.22 €
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Violon et Piano
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Edward Elgar (1857-1934)
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Very Easy Melodious Exercises
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Schott Music - Digital
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SheetMusicPlus
Melodie de Gluck
Piano seul
Piano - intermediate to difficult - Digital Download Composed by Giovanni Sgambati (1…
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Piano - intermediate to difficult - Digital Download Composed by Giovanni Sgambati (1841-1914). Edited by Robert Schafer and Wilhelm Ohmen. Arranged by Giovanni Sgambati. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 5 pages. Schott Music - Digital #Q53319. Published by Schott Music - Digital
The Italian Giovanni Sgambati received music tuition from an early age and gave his first public concert performances as a child. When Liszt came to Rome in 1861, Sgambati became his student. At the opening of the Sala Dante in 1966 he conducted Liszt's Dante Symphony and later travelled with him to Munich, where he also became acquainted with Richard Wagner's music. Sgambati's first song album was published by Schott in 1870, followed by many piano works, chamber works, symphonies and church music compositions. The transcription 'Melodie de Gluck', published in 1881 (plate number 23209), is dedicated to the 'Dance of the Blessed Spirits', a ballet in the second act of the opera 'Orfeo ed Euridice', and is still a popular encore piece by pianists including Evgeny Kissin and Yuja Wang.
$3.99
3.68 €
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Piano seul
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Giovanni Sgambati (1841-1914)
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Giovanni Sgambati
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Co
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Melodie de Gluck
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Schott Music - Digital
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SheetMusicPlus
Suite melodique
Guitare
Guitar - intermediate - Digital Download 7 Progressive Pieces for Guitar. Composed by…
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Guitar - intermediate - Digital Download 7 Progressive Pieces for Guitar. Composed by Laurent Meneret. This edition: Sheet music. Downloadable. Schott Music - Digital #Q18947. Published by Schott Music - Digital
'Suite melodique' for solo guitar by Laurent Meneret (*1963) consists of seven short compositions altogether which focus on various aspects of modern guitar playing in a progressive order of difficulty. The great variety of the pieces ranging from romantic, Creole, Celtic and atonal music to waltz and mambo allows the guitarist to devote himself playfully and intensively to his instrument.
$12.99
11.99 €
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Guitare
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Laurent Meneret
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Suite melodique
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Schott Music - Digital
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SheetMusicPlus
A Pretty Girl is Like a Melody (for Clarinet Quartet)
Quatuor de Clarinettes: 4 clarinettes
Composed by Irving Berlin. Arranged by Kenneth Abeling. Jazz, Swing, Broadway, Musicals. S…
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Composed by Irving Berlin. Arranged by Kenneth Abeling. Jazz, Swing, Broadway, Musicals. Score, Set of Parts. 16 pages. Published by LINCOLN MUSIC PUBLICATIONS (S0.145289). - Score,Set of Parts - Jazz,Swing,Broadway,Musicals - LINCOLN MUSIC PUBLICATIONS
Irving Berlin?s lovely ?A Pretty Girl is like aMelody? arranged here for Clarinet Quartet will please your audiences and yourensemble will enjoy playing it as well. Forhundreds of other arrangements by Kenneth Abeling please visit: www.lincolnmusicpublications.com.Playing time 3:15
$12.50
11.54 €
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Quatuor de Clarinettes: 4 clarinettes
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Irving Berlin
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Kenneth Abeling
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A Pretty Girl is Like a Melody
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LINCOLN MUSIC PUBLICATIONS
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SheetMusicPlus
Mastering Melodies: Favorite Operas
Piano seul
Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selectio…
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Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selections Late Beg/Early Int. Arranged by Janet Vogt Zeitler. Piano Collection. Mastering Melodies Series. 16 pages. Heritage Music Press #e70/1281H. Published by Heritage Music Press (LX.70-1281H). UPC: 000308045161.The moment a familiar classical melody falls into the fingers of a beginning pianist is a moment of musical joy for both performer and listener. Mastering Melodies offers such moments of discovery and accomplishment with a collection of repertoire, which is both accessible and delightfully arranged for the late beginner/early intermediate piano student. These melodies set the stage for beginning musicianship - playing with expression, building increasing technical skills and inspiring a nearly love and appreciation of the classics of musical literature adopted from symphonic, chamber, operatic and keyboard repertoire. The fingers and ears alike will begin to know Beethoven, Bach, Mozart and other great composers, who each had their own unique and extraordinary way of shaping the melodies of their masterworks. These carefully edited and arranged selections will provide a lasting foundation for building repertoire and inspire a natural enthusiasm in each student.
$3.95
3.65 €
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Piano seul
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Janet Vogt Zeitler
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Mastering Melodies: Favorite Operas
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Heritage Music Press
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SheetMusicPlus
Elements of Indian Music
Piano seul
Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB T…
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Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB The Melakarta System. Composed by Radhika Iyer. Theory and Reference. E-book and online audio. 101 pages. Mel Bay Publications - Digital Sheet Music #30603MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30603MEB). ISBN 9781619118232. 8.75x11.75 inches.Elements of Indian Music introduces the Indian melodic system in an accessible manner within the realm of Western music theory. It demonstrates a new archetype in music composition for composers of any genre, as well as composition teachers and anyone interested in ethnomusicology. This book contains a set of 12 etudes for piano and transcriptions for classical guitar. Each etude is about one minute in length and utilizes notes from a particular Indian scale. An intermediate to advanced skill level is required to perform each etude. Practicing and performing these studies is an excellent way to expand one’s musical perspective beyond traditional diatonic scales. Indian music has intrigued the West for a long time, but hasn’t always been accessible because of the absence of a systematic approach to theory and repertoire. Just as the Western harmonic system is well developed, the Indian melodic system is very advanced and equally established. The intermingling of these two worlds can inspire new, exceptional sonic landscapes. Useful literature on the evolution of the Indian melodic system is also included, with notes on how it can be used as a modus operandi by Western musicians who wish to apply Indian scales in Western compositions and improvisations. Includes access to online audio
$19.99
18.46 €
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Piano seul
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Radhika Iyer
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Elements of Indian Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Joy of Music - Discoveries from the Schott Archives
Violoncelle, Piano
Cello and piano - intermediate to advanced - Digital Download Virtuoso and Entertaini…
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Cello and piano - intermediate to advanced - Digital Download Virtuoso and Entertaining Pieces for Cello and Piano. Composed by Various. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. Virtuoso instrumental music, Violoncello, Cello, Anthology. Copyright 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 161 pages. Schott Music - Digital #Q53332. Published by Schott Music - Digital
English - German.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced cellists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.
$23.99
22.15 €
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Violoncelle, Piano
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Various
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Co
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Joy of Music - Discoveries from the Schott Archives
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Schott Music - Digital
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SheetMusicPlus
Joy of Music - Discoveries from the Schott Archives
Clarinette et Piano
Clarinet and piano - intermediate to advanced - Digital Download Virtuoso and Enterta…
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Clarinet and piano - intermediate to advanced - Digital Download Virtuoso and Entertaining Pieces for Clarinet and Piano. Composed by Various. Edited by Rainer Mohrs and Rudolf Mauz. This edition: Sheet music. Virtuoso instrumental music, Clarinet, Anthology. Copyright 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 176 pages. Schott Music - Digital #Q53330. Published by Schott Music - Digital
German - Danish.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced clarinetists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.
$23.99
22.15 €
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Clarinette et Piano
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Various
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Co
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Joy of Music - Discoveries from the Schott Archives
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Schott Music - Digital
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SheetMusicPlus
If Ever I Would Leave You from Camelot - Leadsheet
Ligne De Mélodie, (Paroles) et Accords
Frederick Loewe - If Ever I Would Leave You - from Camelot Digital Sheetmusic plus an inte…
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Frederick Loewe - If Ever I Would Leave You - from Camelot Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Lyrics/Melody/Chords;Leadsheet, instruments: Voice;C Instrument; 4 pages -- Show/Broadway~~Musical
$3.25
3 €
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Ligne De Mélodie, (Paroles) et Accords
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Leadsheet
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Musicnotes
Ihr Kinderlein Kommet - Oh Come, Little Children German Christmas carol for piano duet & melody instruments
1 Piano, 4 mains
Composed by German traditional. Arranged by Barbara Arens. Christian, European, Christmas,…
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Composed by German traditional. Arranged by Barbara Arens. Christian, European, Christmas, Children's Music, Recital. Score. 2 pages. Published by Barbara Arens (S0.287115). - Score - Christian,European,Christmas,Children's Music,Recital - Barbara Arens
$4.00
3.69 €
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1 Piano, 4 mains
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German traditional
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Barbara Arens
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Ihr Kinderlein Kommet - Oh Come, Little Children German Christmas carol for piano duet & melody instruments
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Barbara Arens
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SheetMusicPlus
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,…
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
9.23 €
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Nathan Petitpas - Dots and Beams
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I encourage you to use both
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Pitch and Rhythm - Treble Clef, Diatonic
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Dots and Beams
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SheetMusicPlus
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsich…
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - Digital Download SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00
9.23 €
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Nathan Petitpas - Dots and Beams
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I encourage you to use both
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Pitch and Rhythm - Bass Clef, Diatonic
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Dots and Beams
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SheetMusicPlus
The Foggy Dew
Composed by Traditional. Folk, Celtic. Set of Parts, Solo Part. 51 pages. Published by Afg…
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Composed by Traditional. Folk, Celtic. Set of Parts, Solo Part. 51 pages. Published by Afghan Press Music for the Harp (S0.121503). - Set of Parts,Solo Part - Folk,Celtic - Afghan Press Music for the Harp
$15.00
13.85 €
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Traditional
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The Foggy Dew
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Afghan Press Music for the Harp
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SheetMusicPlus
Are You in the Mood
Composed by Django Reinhardt, Stephane Grappelly. Arranged by McCorkle, Dennis F. Jazz, Re…
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Composed by Django Reinhardt, Stephane Grappelly. Arranged by McCorkle, Dennis F. Jazz, Repertoire, World. Lead Sheet, Solo Part. 22 pages. Published by DF McCorkle Music and eBook Publications (S0.39687). - Lead Sheet,Solo Part - Jazz,Repertoire,World - DF McCorkle Music and eBook Publications
$3.99
3.68 €
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Django Reinhardt, Stephane Grappelly
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McCorkle, Dennis F
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Are You in the Mood
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
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