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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
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PIANO & CLAVIERS
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Voix Baryton, Piano
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Vous avez sélectionné:
Mind Over Memory
Partitions à imprimer
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Mind Over Memory
2 Flûtes traversières (duo)
Flute Duet Flute - Level 2 - Digital Download SKU: A0.1171198 Composed by Joseph Pu…
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Flute Duet Flute - Level 2 - Digital Download SKU: A0.1171198 Composed by Joseph Pugh. Contemporary,Jazz,Pop,Rock. Score. 7 pages. Joseph Pugh #771537. Published by Joseph Pugh (A0.1171198). Delightful jazz flute duet with drums optional.
$9.99
9.1 €
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2 Flûtes traversières (duo)
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Joseph Pugh
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Mind Over Memory
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Joseph Pugh
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SheetMusicPlus
Chevalier De Sangreal
Orgue
Instrumental Solo,Pipe Organ - Level 4 - Digital Download SKU: A0.1315329 Composed …
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Instrumental Solo,Pipe Organ - Level 4 - Digital Download SKU: A0.1315329 Composed by Hans Zimmer. Arranged by Anna Lapwood. 21st Century,Classical,Contemporary,Film/TV. Individual part. 10 pages. Anna Lapwood #904075. Published by Anna Lapwood (A0.1315329). Over the past couple of years I have written a number of film music transcriptions on and for the organ of the Royal Albert Hall in London. While the transcriptions are written with this organ in mind, often calling for specific colours such as the bass drum, carillons or tubular bells, they are adaptable on a number of different instruments and I’ve loved tweaking them in order to play them on organs all across the world. I hope you enjoy playing them as much as I’ve enjoyed writing them! We all have those pieces of music that have a strong, almost formative, childhood memory associated with them, and Chevaliers De Sangreal is one of those pieces for me. I vividly remember watching the film for the first time with my family, hearing the music and feeling an incredible emotional response to it. I wanted to work out how the music worked, so I sat in bed with a torch and manuscript paper, writing out the harmony, and trying to understand how Hans Zimmer achieved such emotion through repetition and orchestration. Every time I play this I get reminded of the goosebumps I felt hearing it for the first time.  - Anna Lapwood.
$5.99
5.45 €
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Orgue
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Hans Zimmer
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Anna Lapwood
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Chevalier De Sangreal
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Anna Lapwood
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SheetMusicPlus
Vampire
Chorale SSAA
Choral Choir (SSAA) - Digital Download SKU: A0.1007507 Composed by R. LaBanca. Cont…
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Choral Choir (SSAA) - Digital Download SKU: A0.1007507 Composed by R. LaBanca. Contemporary. Octavo. 7 pages. R. LaBanca #3416041. Published by R. LaBanca (A0.1007507). This piece is based on text that I wrote several years ago. As a lover of the horror genre I have always had a fascination with the romantic creature known in modern culture as the vampire. I imagined in my mind the interaction between a mortal and an immortal creature. How would the mortal describe a romantic encounter with this creature that exists in the shadows, untouched by time? I used descriptive text to communicate the visceral details of this experience and make the listener create in their mind how the experience would have felt if they had experienced it. The encounter is intense, and painful but once it ends the narrator feels empty and only has a mysterious melody to keep as a memory. I set the text for treble voices because I felt that the close harmonies I could accomplish with voices in the same register would lend itself well to the imagery. The piece is lush and smooth when the text demands it and sharp and angular when the text calls for that sound. Once the interaction is over, the voices break off into an aleatoric section in which each voice sings the phrase Songs only bones can hear fading away into nothingness just as the text suggests the vampire moves into the velvet void.
$3.99
3.63 €
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Chorale SSAA
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R
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Vampire
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R. LaBanca
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SheetMusicPlus
Joy In A Minor Key
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1274787 Composed by Elena Kats-Ch…
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Concert Band - Level 4 - Digital Download SKU: A0.1274787 Composed by Elena Kats-Chernin. Arranged by John Ivor Holland. 21st Century,Classical,Contemporary. Score and Parts. 72 pages. John Ivor Holland #866938. Published by John Ivor Holland (A0.1274787). The composer writes: 'While composing Joy in a Minor Key I attempted to achieve a fleeting, light, poetic, almost never touching the ground quality. The piece is written in my favourite form of rondo waltz with a coda'. The composition was commissioned by an Australian patroness for the 50th birthday of her husband, who had recently recovered from serious illness. On first hearing the atmospherically ambivalent sounds, she then felt more reminded of her mother, a great lover of music, to whose memory Joy in a Minor Key was finally dedicated. This arrangement for concert band has been created as part of a project to expand the repertoire of music by women from around the world.
$49.99
45.52 €
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Orchestre d'harmonie
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Elena Kats-Chernin
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John Ivor Holland
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Joy In A Minor Key
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John Ivor Holland
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SheetMusicPlus
Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
Voix Tenor
Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.533282 Composed by Greg…
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Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishing #2331251. Published by Musik Fabrik Music Publishing (A0.533282). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
15.43 €
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Voix Tenor
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
Voix Baryton, Piano
Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gre…
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Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
15.43 €
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Voix Baryton, Piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
Piano seul
Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00
4.55 €
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Piano seul
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Lewis & Clark Trail (for Brass Quintet & Optional Percussion)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158189 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158189 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 40 pages. Https://gildedmusicpress.com/ #758465. Published by https://gildedmusicpress.com/ (A0.1158189). The majority of the composition is boisterous, upbeat, exciting, and western! Though perhaps overly romanticized, those thrilling impressions are brought to the modern observer in the monuments and tributes all along the Lewis and Clark Trail. Indeed, from the Gateway Arch in Saint Louis to Floyd’s obelisk; from numerous visitors’ centers to historic markers throughout the more than 7000 miles traversed, Lewis and Clark and the others are kept in grateful memory for their inspiring work of opening the gateway to the west. Many working brass quintets throughout the nation joined a consortium of performances for the fall of 2019—particularly near September 23, as that was the date the expedition ended in Saint Louis, Missouri, where it also began. With the images of the Lewis and Clark Expedition in mind, the compositional process occurred quickly, and a draft of the full-length work was printed for a reading with Offutt Brass one week after it was begun. A final product was to be delivered to the consortium members by the end of April for enough time to bring the work to life in the fall. Within the music itself are several hidden meanings which, though imperceptible upon listening, are significant nonetheless. It will be noted that there is little rest for the players. For the span of 4’40â€, out of nearly 1000 measures of collective music, there is a total of 99 complete measures of rest shared between the performers. Throughout the expedition 33 key personnel participated, three of whom famously ring in the ears of all Americans: Meriwether Lewis, William Clark, and the well-known Shoshone guide, Sacagawea. To acknowledge the arduous nature of this enormous undertaking, what little rest there is in this composition multiplies the number of explorers with the three most famous names.
$29.95
27.27 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Lewis & Clark Trail
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https://gildedmusicpress.com/
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SheetMusicPlus
alt.Callahans Reel
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.992361 Composed by Tim Fatchen. Cel…
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Piano Solo - Level 4 - Digital Download SKU: A0.992361 Composed by Tim Fatchen. Celtic,Contemporary,Folk. Score. 15 pages. Flying Tadpole Productions #6210807. Published by Flying Tadpole Productions (A0.992361). ALT.CALLAHANS REEL(which is actually a Slide, with a Reel interlude!) Fast and lively foot-tapping neo-Celtic, at its best on electronic keyboard but also a fun piano solo. (Duration 8+ minutes) Reel Jiggery-pokery The song started as a jig but drank too much and reeled into 12/8 time. Properly speaking, despite its strong 4-beat pulse, it's a Slide. Or perhaps a Double Jig. Except for the mid-section, which is really a Reel! Needless to say, this is not for the purists...but it's huge fun for the rest of us! Playing and Performing We've marked it Advanced Intermediate. It's the indicated speed which makes demands! But you can play it slower and enjoy! On electronic or MIDI keyboard, use a percussive/plucked foundation (e.g. piano, harp, faux guitar) with a sustained string patch (string ensemble, synth strings, viola works well, fiddle works well, most violin patches are terrible!). For piano, you'll have to use more of the sustain pedal but not too much or it'll go all muddy on you, just like a mis-step in an Irish bog! (Original live and YouTube performances were on a Medeli MC 710, from 2005. This keyboard allowed splitting and dual voices. Piano was used as foundation both above and below the split point. A loud viola patch was used as the second voice on the upper part of the keyboard, as the dominant fiddle sound carrying the melody. A synth string patch was used as second voice on the lower half, giving the drones.) Add Your Own Salt and Pepper to the Score! The song is scored for clarity, not as a detailed demand for every possible nuance. It's fast, so although simple to look at when not playing, you'll need to be reading the music at speed. Unless, of course, you're blessed with a brilliant memory! So the score isn't cluttered with ornaments and fiddly bits, or lots of expression marks. Especially, it's not cluttered by a lot of suspended notes. BUT...you will need to suspend a lot of notes as you play. Think drones running all over the place and use your keyboard sustaining string patches to bring those drones out! Listen to the live recordings, they'll help. You, as player, have lots of freedom! It's up to you how many additional frills, or emphasis, or drone suspensions you throw in. Why alt.callahans?In the far distant past of 2005, there was an Internet newsgroup of that name, in honor and emulation of Callahan's Crosstime Saloon, a fictional bar with strongly community-minded and empathic clientele, part of the fictional universe of American writer Spider Robinson. [Wikipedia] A place for tall tales and true, comradeship, puns both good and bad. We had fun there, and this song came out of it. The Internet world, sadly, has changed since.
$7.50
6.83 €
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Piano seul
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Tim Fatchen
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alt.Callahans Reel
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Flying Tadpole Productions
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SheetMusicPlus
In The Summertime (score - vln, vla, cel)
String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861849 Composed by…
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String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861849 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 14 pages. Mark O'Connor Musik International #6203883. Published by Mark O'Connor Musik International (A0.861849). In The Summertime (score – vln, vla, cel) MO167AScore (parts available)Music by Mark O’Connor10 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together. We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167ACopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$7.50
6.83 €
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
In The Summertime (viola part - vln, vla, cel)
String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861851 Composed by…
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String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861851 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203887. Published by Mark O'Connor Musik International (A0.861851). In The Summertime (viola part – vln, vla, cel) MO167CViola Part (score and parts available)Music by Mark O’Connor4 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together.We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167CCopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
4.1 €
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
In The Summertime (violin part - vln, vla, cel)
String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861850 Composed by…
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String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861850 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203885. Published by Mark O'Connor Musik International (A0.861850). In The Summertime (violin part – vln, vla, cel) MO167BViolin Part (score and parts available)Music by Mark O’Connor4 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together.We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167BCopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
4.1 €
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
In The Summertime (cello part - vln, vla, cel)
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861852 Composed by…
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String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.861852 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203889. Published by Mark O'Connor Musik International (A0.861852). In The Summertime (cello – vln, vla, cel) MO167DCello Part (score and parts available)Music by Mark O’Connor4 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together.We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167DCopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
4.1 €
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Trio à Cordes: violon, alto, violoncelle
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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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-believinYour 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
6.36 €
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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
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