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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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Vous avez sélectionné:
Quite a Fugue Est
Partitions à imprimer
21 partitions trouvées
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1
Quite a Fugue Est
1 Piano, 4 mains
1 Piano,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1151236 By JD Washi…
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1 Piano,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1151236 By JD Washington. By JD Washington. Arranged by JD Washington. 20th Century. Score. 3 pages. JD Washington #751419. Published by JD Washington (A0.1151236). A contrapunctus.
$1.99
1.84 €
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1 Piano, 4 mains
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JD Washington
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JD Washington
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Quite a Fugue Est
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JD Washington
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SheetMusicPlus
Air On The G String (BWV 1068) / Fugue c minor (BWV 847)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1103957 Composed by Johann S…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Contemporary,Contest,Festival,Jazz. Score and parts. 32 pages. Uwe Roessler #707241. Published by Uwe Roessler (A0.1103957). This arrangement consists of two parts which can be played either seperately, or consecutively: the famous “Air On The G String†(BWV 1068, as in the 1871 arrangement by August Wilhemj), inspired by Jaques Loussier´s “Play Bachâ€- version, and the fugue c-minor from the Well-Tempered Piano (BWV 847), inspired by the magnificent Turtle Island String Quartet´s incomparable swinging rendition (hence the video link). There are several options of playing this arrangement: “Air†has two parts which can be repeated – thus, violin1 and cello can distribute the theme. Of course, these repetitions are optional. If you want to play the Air only – there is an optional ending in bar 22. If you want to play only the fugue – start from bar 23 (intro), or from bar 30 (theme). Or you choose to play Air and fugue consecutively. The arrangement works great either ways ;-). Piano voice is written out. However, there are also chord symbols for your own voicings. Minimal instrumentation: piano trio (violin1, cello, piano). Comes with full score and all individual parts. Optional voices for violin 2 and bass, clarinet Bb, guitar, and drums included. Professional sheet material. I´ve listed quite a lot of songs, so far: Movie Themes and classic Pop songs for this kind of instrumentation, and others. Browse ;-) Have fun with my arrangements!
$30.00
27.72 €
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Orchestre de chambre
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Johann Sebastian Bach
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Air On The G String
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Uwe Roessler
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SheetMusicPlus
Festival Overture on "Ein Feste Burg"
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.1202347 Composed by Otto Nicolai.…
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Concert Band - Level 5 - Digital Download SKU: A0.1202347 Composed by Otto Nicolai. Arranged by Arranged by Trevor Denyer. 19th Century,Romantic Period. Score and Parts. 114 pages. Trevor Denyer #801033. Published by Trevor Denyer (A0.1202347). Otto Nicolai is best known for his opera The Merry Wives of Windsor, but it is by no means his only work; having quite a broad range of compositions.This piece, on the well known hymn tune, is a lovely mixture of chorale and fugue, which gives everyone some interesting and challenging roles.As usual with my scores; print double-sided as presented (Including title pages where present) and the page turns will work.
$35.00
32.34 €
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Orchestre d'harmonie
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Otto Nicolai
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Festival Overture on "Ein Feste Burg"
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Trevor Denyer
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SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
147.82 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
79.44 €
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Orchestre
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Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
#
SheetMusicPlus
Lullaby and Fugue (Score and Parts)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.942945 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.942945 Composed by Aris Antoniades. Contemporary,World. Score and parts. 26 pages. Aris Antoniades #3914539. Published by Aris Antoniades (A0.942945). Lullaby & Fugue, composed by Aris Antoniades.This piece was commissioned by the Sforzando Composers' Collective for the New Asia Chamber Music Society of New York, and was premiered on August 4th, 2017 at the Riverside Church in NYC.When I was presented with the challenge of composing a work combining traditional Chinese instruments with conventional Western instruments, I was quite intrigued: merging different sound-worlds has always been a strong compositional interest of mine. I am fascinated by folk music and, being born and raised on the Mediterranean island of Cyprus, much of my music is greatly influenced by my Greek cultural heritage. This piece is no different: I’ve attempted to use the enchanting sound of the Chinese Dulcimer in a way that reminds me of my own home.Lullaby and Fugue is a work inspired by the magical art of story telling. I still remember many of the bedtime stories my grandparents used to tell me when I was young. Their stories were not just entertaining, but also didactic: I follow many of their teachings to this very day, and I believe that these stories have played a vital role in shaping my character. The Lullaby portrays the soothing aspect of a bedtime story, whilst the Fugue represents the hidden, ‘cerebral’ aspect. I would like to thank my friends at the Sforzando Composers Collective for this great opportunity and all of the performers for their time and dedication. Additionally, I would like to thank my mentor, Dr. J. Mark Stambaugh for helping me discover the true magic of counterpoint, back in college. Finally, I would like to dedicate this piece to the greatest storytellers in the world: my grandparents George, Panayiota, Anthis and Persoulla.Estimated performance time: ca. 4' 45''Instrumentation:Chinese DulcimerPianoViolinVioloncelloContact the composer: https://www.arisantoniades.com or aris.antoniades@gmail.com
$25.00
23.1 €
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Aris Antoniades
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Lullaby and Fugue
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Aris Antoniades
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SheetMusicPlus
Ricercare a 6 for 14-part Brass Ensemble
Ensemble de cuivres
Brass Ensemble - Level 5 - Digital Download SKU: A0.792440 Composed by Johann Sebas…
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Brass Ensemble - Level 5 - Digital Download SKU: A0.792440 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque,Classical,Renaissance. Score and parts. 86 pages. Gordon Cherry #4821677. Published by Gordon Cherry (A0.792440). A Musical Offering, BWV 1079, is a collection of canons and fugues based on a single musical theme given to Bach by Frederick the Great of Prussia. The Ricercar a 6 is a 6-voice fugue considered to be the highlight of the entire work and described as possibly the greatest piano composition in musical history. Mr. Sauer has brilliantly scored Bach’s fugue for 14-piece Brass ensemble the texture of which is quite transparent until the ending, which goes out in a blaze of glory. Instrumentation: 4 Trumpets in C, 4 Horns, 4 Trombones, 2 Tubas (optional single tuba part also included). The work is about 8 minutes in length and is suitable for advanced performers.
$32.50
30.03 €
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Ensemble de cuivres
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Johann Sebastian Bach
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Ralph Sauer
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Ricercare a 6 for 14-part Brass Ensemble
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Gordon Cherry
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SheetMusicPlus
Canzon II a 4 - No. 187
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.870391 Composed by Giovanni Gab…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.870391 Composed by Giovanni Gabrieli. Arranged by Randy A. Steinberg. Baroque. Score and parts. 24 pages. Randy A. Steinberg #1984027. Published by Randy A. Steinberg (A0.870391). Giovanni Gabrieli was no mere composer. He was an event. The figure at the nexus of many things all coming together in one grand tide. The greatest church in the greatest city of Europe. Freedom of intellectual thought. A Venetian School of composers at the forefront of musical innovation. The printing press and musical publishing. A Doge (Chief Magistrate or Duke) willing to spend, and spend big, on musical pomp and ceremony. A dearth of wealth and money to fund the grandest celebrations. He was the leading Italian composer and organist in Venice at its greatest heights at the chasm between the end of the Renaissance and the beginning of the Baroque period in music. One of the most popular of his smaller instrument works are the 4 Canzonas. Presented here is the second of them written around 1608. Quite popular among brass players, this work starts with a running theme that is almost fugue-like as it passes from one instrument to the next. A great work from Gabrieli, it is complex in structure yet never loses its pleasing sonorities that build until the final climax.
$3.99
3.69 €
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Ensemble de cuivres
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Giovanni Gabrieli
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Randy A
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Canzon II a 4 - No. 187
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Randy A. Steinberg
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
81.29 €
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Chorale SATB
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Fantasia and Fugue BWV 542 (arranged for woodwind quintet)
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute - Level 4 - Digital…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,English Horn,Flute - Level 4 - Digital Download SKU: A0.1453968 Composed by Johann Sebastian Bach. Arranged by Daniel Kaplan. Baroque,Chamber. 55 pages. Daniel Kaplan #1033157. Published by Daniel Kaplan (A0.1453968). Bach's Great Fantasia and Fugue in G minor, BWV 542, is a monumental work for organ, first performed by Bach (according to some scholars, possibly improvised on the spot!) in Hamburg in 1720. Over the years it has been arranged for various ensembles, including full orchestra, but this is the first arrangement I'm aware of for woodwind quintet. The character of the piece is somewhat changed, becoming livelier and more dance-like, but it remains a wonderful flight of fancy (arguably the original meaning of fugue), and by the end the attentive listener may be quite carried away.This is part of Kaplan's project to enhance and broaden the woodwind-quintet repertoire with both great classics and beautiful lesser-known works. The varied timbres of the woodwind instruments add clarity to contrapuntal writing, allowing the individual parts to be more clearly perceived and followed by the listener. (Kaplan has made many other woodwind-quintet arrangements, for most of which the sheet music is available on this website.).
$9.95
9.19 €
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Johann Sebastian Bach
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Daniel Kaplan
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Fantasia and Fugue BWV 542
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Daniel Kaplan
#
SheetMusicPlus
Toccata and Fugue in D Minor, BWV 565
1 Piano, 4 mains
1 Piano,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.1105161 Composed by…
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1 Piano,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.1105161 Composed by Johann Sebastian Bach. Arranged by Fernando Ramos. Baroque,Classical,Thriller. Score. 7 pages. Fernando Ramos #708413. Published by Fernando Ramos (A0.1105161). YouTube Link: https://youtu.be/YDQ2da-Pr8E Other Arrangements Available: https://www.sheetmusicplus.com/publishers/fernando-ramos-sheet-music/3016426?isPLP=1 I make piano solo arrangements for my students of songs that they love! My goal is to create something that sounds beautiful as a standalone piece of music and, most importantly, that it also makes pianistic sense. Each of my arrangements is made for a specific student, so the results will vary in terms of playing level. Most decisions are based on their current skills and abilities, or where I would like for them to be when they complete the piece. This arrangement was made for two siblings, 10 and 12 at the time! I would consider them both early intermediate, easily playing at Elementary IV NFMC class. This piece was quite the challenge at first. There are some tricky sections with unison runs. Playing cleanly is important here. Pedal should not be used very much except were notated. A definite crowd pleaser. (If you listen to the video, those are my students performing at an Honors Recital—very proud of them!) Pedal and fingering suggestions are included.
$5.99
5.53 €
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1 Piano, 4 mains
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Johann Sebastian Bach
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Fernando Ramos
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Toccata and Fugue in D Minor, BWV 565
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Fernando Ramos
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SheetMusicPlus
Canoe for solo piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1110965 Composed by Adrienne Inglis…
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Piano Solo - Level 5 - Digital Download SKU: A0.1110965 Composed by Adrienne Inglis (ASCAP). 20th Century,Classical,Historic,Multicultural,World. Score. 24 pages. Adrienne Inglis (ASCAP) #713232. Published by Adrienne Inglis (ASCAP) (A0.1110965). Colorful, challenging piano solo traces an Ojibwe family’s harrowing journey by canoe down the Brule River and across Lake Superior to safety Canoe (2022) by Adrienne Inglis (ASCAP) For solo piano Duration 9:22 Difficulty 5 advanced Canoe (2022) by Adrienne Inglis (ASCAP), commissioned by Dr. Joseph Choi for solo piano, tells a harrowing story through music of the composer’s Ojibwe ancestor, Wabegiah, and her three young children. Wabegiah grew up at Upper Lake St. Croix in Wisconsin, married the French trader Mr. Couture, and had three children. Mr. Couture died suddenly just as the tensions with the Sioux became quite threatening. To protect her children from being killed by the Sioux, she took them on the long journey in a birch bark canoe down the Brule River and along the coast of Lake Superior all the way to Sault Ste. Marie. As you would expect, much of the music represents water, but it also captures moments during their flight. Loud dissonant chords mark Mr. Couture’s death and Wabegiah’s grief. The unsettling fear motive in Locrian mode predominates as they begin to flee. As they head away from danger, the courage theme follows them downstream. In a dissonant conversation with an Ojibwe man on the Brule River, he refused to give the hungry travelers food, but told them to continue to the river’s mouth to find Wabegiah’s aunt and uncle. The restful and nourishing family time on the shores of Lake Superior allows for variations on the family theme, playful, sleepy, and reflecting on the coming of autumn. With the courage theme as the subject, a fugue tracks their difficult passage across Lake Superior to the safety of Sault Ste. Marie. Recounted by Eliza Morrison, a daughter from Wabegiah’s second marriage, this journey took place in the early 1830s. The three children were born in 1828, 1829, and 1830. The youngest of the children was Angelique, the composer’s great great grandmother.
$9.99
9.23 €
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Piano seul
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Adrienne Inglis
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Canoe for solo piano
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Adrienne Inglis
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SheetMusicPlus
"39 Variations on an Original Theme in F Major" for piano Op. 98
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.980450 Composed by Gary Noland. 20t…
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Piano Solo - Level 5 - Digital Download SKU: A0.980450 Composed by Gary Noland. 20th Century,Concert,Contemporary. Score. 192 pages. Freeland Publications #3246581. Published by Freeland Publications (A0.980450). Duration: ca. 90 minutes-2 hours. Quite possibly the longest set of piano variations in the entire classical music literature, with the exception, perhaps, of certain sets of variations for piano by Kaikhosru Shapurgi Sorabji. This work ends with a monstrous 35-page long fugue. In the 18th century, Bach composed the Goldberg Variations (30 variations), in the 19th century Beethoven composed the Diabelli Variations (33 variations), in the 20th century Frederic Rzewski composed The People United Will Never Be Defeated (36 variations), and now, in the 21st century, Gary Noland has composed his monumental 39 Variations on an Original Theme in F Major. (There seems to be a pattern of three variations added on for each century). This is a work for adventurous first-rate pianists! Some of the variations are self-contained and may be played separate from the whole.I'm fascinated by your variations. Perhaps a marathon performance with many pianists doing several variations? Could be interesting. RIchard Strauss would have loved it.-Jed Distler, pianist. Sheer genius!!!! Move over Bach!!!!!-Alfred Watson, composer & pianist. Very nice and exciting! I listened [to] both the parts on you tube and I was not bored at all ... impeccable technique with echos (in my opinion) from Bach, Beethoven, Satie up to contemporaries, and many others ... many compliments!!!-Sisto PalombellaOne word: monumental!-Joseph Ford, composerThis is amazing music … Wow!!!-John William BaxterBeautifully put together. Three cheers!-Scott Giles, composerThis is a remarkable set of variations, not only for the immensely imaginative treatment of the theme but also for the vast array of stylistic influences incorporated into the score. One need only listen to five minutes to appreciate the craftsmanship!-Lenny Cavallaro, composerI'm enjoying this very much. I liked the intellectual rigor that underlies it.-John Melcher, composerAmazing work!-Rudolf SchmittLink to Section One: https://www.youtube.com/watch?v=4JQYgBiP388Link to Section Two: https://www.youtube.com/watch?v=UjQLOoPGvII&t=1025s
$30.00
27.72 €
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Piano seul
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Gary Noland
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"39 Variations on an Original Theme in F Major" for piano Op. 98
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Freeland Publications
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SheetMusicPlus
March Fantasy
Bass Trombone,Low Brass Quartet,Tuba - Level 4 - Digital Download SKU: A0.1269960 C…
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Bass Trombone,Low Brass Quartet,Tuba - Level 4 - Digital Download SKU: A0.1269960 Composed by Brad Howland. 21st Century,March. 16 pages. Linden Brass Press Inc. #862423. Published by Linden Brass Press Inc. (A0.1269960). March Fantasy Low Brass Quartet or Choir(Two Trombones, Bass Trombone, Tuba)Brad Howland (SOCAN)Written for a standard band or orchestra low brass section, this piece also sounds excellent with all parts doubled. An opening fanfare leads into a toe-tapping march, followed by a fugue reminiscent of Bach, a tuba recitative and solo, a recap of the march, and a majestic finale. The bass trombone part could be played on a tenor trombone, but both 2nd and 3rd trombone will need F attachments. In the sample recording the tuba part is performed by the composer on euphonium, so it might not sound quite like a tuba!
$14.95
13.81 €
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Brad Howland
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March Fantasy
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Linden Brass Press Inc.
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SheetMusicPlus
String Quartet No. 2
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1417371 Composed by Julian Harvey. 21st Century,Contemporary. 52 pages. Julian Harvey #998468. Published by Julian Harvey (A0.1417371). Due to the interest in my first string quartet I thought I would put together a String Quartet No. 2. However, the second quartet, especially in the first and last movements is quite different than the first. There are elements of pop music in the first movement which is entitled “Heartthrob†and is marked quarter note equals 80. The second movement, entitled “I Remember, is marked quarter equals 76 and resembles somewhat the style of the earlier quartet. The third movement, entitled “Computer Game,†is marked quarter note equals 106 and contains elements of pop music as well as of minimalism. It ends with a fugue.
$15.00
13.86 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Julian Harvey
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String Quartet No. 2
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Julian Harvey
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SheetMusicPlus
Fürchte dich nicht for Trombone or Low Brass Octet
Brass Ensemble,Chamber Orchestra Euphonium,Trombone,Tuba - Level 4 - Digital Download S…
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Brass Ensemble,Chamber Orchestra Euphonium,Trombone,Tuba - Level 4 - Digital Download SKU: A0.508205 Arranged by Eric Burger Music. Baroque. Score and parts. 40 pages. Eric Burger Music #3514907. Published by Eric Burger Music (A0.508205). Fear Me not, BWV 228 (c. 1715) This amazing and complex work by written at the height of the master's compositional prowess shows why J.S. Bach is held in such high regard! Interesting and quite challenging for every player, this will also astonish your audience. The shared fugue at the end is a blast to play. I grade this as a 4.5. View the score with playback at:https://youtu.be/E9yF-0rNdOE This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$15.00
13.86 €
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Eric Burger Music
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Fürchte dich nicht for Trombone or Low Brass Octet
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Eric Burger Music
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SheetMusicPlus
Chorale Prelude on Was lebet, was schwebet (Worship the Lord in the beauty of holiness)
Orgue
Instrumental Solo,Organ - Digital Download SKU: A0.1372227 Composed by Chris Kovari…
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Instrumental Solo,Organ - Digital Download SKU: A0.1372227 Composed by Chris Kovarik. Classical,Praise & Worship,Sacred. Individual part. 8 pages. Chris Kovarik #956492. Published by Chris Kovarik (A0.1372227). Was lebet, was schwebet (composed 2021, duration ca. 5’) is less a chorale prelude, and more a prelude and fugue. The prelude is a free fantasy based mostly on the opening notes of the hymn tune. It alternates short pedal solos with showy figures in the manuals. The fugue is based on the first six measures of the hymn tune, and thoroughly investigates the subject. It concludes in a brief flourish, reminiscent of the opening fantasia. A final fugato presents the entire hymn tune, in augmentation, beginning in the bass (on the pedals) and moving to the soprano. The piece is joyful and exuberant from beginning to end.Technical note: despite the extensive counterpoint and manual flourishes, this piece is quite approachable, being easier, on the whole, than a typical Bach prelude and fugue.
$4.99
4.61 €
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Orgue
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Chris Kovarik
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Chorale Prelude on Was lebet, was schwebet
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Chris Kovarik
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SheetMusicPlus
Level Up!
Basson, Piano (duo)
Bassoon,Piano - Level 2 - Digital Download SKU: A0.1316530 Composed by Angela Salva…
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Bassoon,Piano - Level 2 - Digital Download SKU: A0.1316530 Composed by Angela Salvaggione. Baroque,Contest,Festival,Instructional. Score and part. 7 pages. Angela Salvaggione #905263. Published by Angela Salvaggione (A0.1316530). This piece is based on a ground, or ostinato. That means it has a repeating pattern, in this case, eight bars. La Folia is a ground that’s been used by many composers over the centuries, including Corelli (Violin Sonata Op. 5, no. 12) and Vivaldi (Trio Sonata, Op. 1 no. 12), and more recently, Rachmaninoff (Variations on a Theme of Corelli) and Manuel Ponce (Variations sur Folia de España et fugue), and more recently still, Glen Shannon’s La Follia Variations for recorder ensemble. Many of these pieces are quite long to listen to, but are written for a variety of instruments and a variety of styles. Perhaps it will inspire you to try and write a variation yourself. You can have your teacher play the ground and you play your variation at the same time to see if you like how it sounds together. Warning! DO NOT start this piece too fast! The opening theme is very easy, but after every eight bars, each variation becomes more difficult as you Level Up through the piece. Keep everything under control, and think of ways you can make each variation sound different – experiment with your dynamics and articulations. Time: ca. 2:15Key: D minorRange: E2-Bb3With large leaps and running scalar sixteenth note passages, this piece is appropriate for a second year student.Once the student has purchased this piece, an adjudicator’s copy may be made. Teachers may purchase individual copies for each student’s use. Studio licensing is not available.
$10.00
9.24 €
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Basson, Piano (duo)
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Angela Salvaggione
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Level Up!
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Angela Salvaggione
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SheetMusicPlus
Sweet Suite,featuring the music of Alexandre Guilmant for Clarinet Quartet.
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.891945 Composed by …
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Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.891945 Composed by Felix Alexandre Guilmant. Arranged by Stephen Davies. 20th Century,Standards. 38 pages. Stephen Davies #5755531. Published by Stephen Davies (A0.891945). SWEET SUITE: QUARTET FOR CLARINETS Featuring the music of ALEXANDRE GUILMANT In this delightful suite of 4 movements, I have chosen four very eclectic works by the French Organist and Composer Alexandre Guilmant. In his time (1837-1911) he helped found the Schola Cantorum of Paris, and served as Professor of Organ at the Paris Conservatoire from 1896 until his death. His Wiki entry is an interesting read!! Oh, and don't be fooled by the gentle lilt of the first movement! 1. CHANT DU MATIN This jolly piece has a very memorable theme, with an almost Music Hall 'middle eight' section, littered with grace notes, and ends with a big 'film' finish! 2. FUGUE GRAVE Blessed with beautifully lush harmonies, and with the unusual theme based on the diminished 7th, it quite literally makes the Clarinet Quartet sing. 3. ASPIRATION RELIGIEUSE Despite the religious connotations in the title, this is an almighty vehicle for the Bass Clarinet to shine!The 3 Bb Clarinets hold a singularly static but lovely theme above, as the Bass Clarinet tumbles over the chords with relish from start to finish. A must play for your Bass player! 4. FUGHETTA IN A MINOR This is just a fantastic musical romp for 4 accomplished players! Once one player has the jaunty melody line, everyone wants to be a part of it! ... also includes some well written 'quirky' off-beat rhythms on the Bass part. Good luck!!
$19.99
18.47 €
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Ensemble de Clarinettes
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Felix Alexandre Guilmant
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Stephen Davies
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Sweet Suite,featuring the music of Alexandre Guilmant for Clarinet Quartet.
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Stephen Davies
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SheetMusicPlus
Sweet Suite,featuring the music of Alexandre Guilmant for Clarinet Quartet.
Quatuor de Clarinettes: 4 clarinettes
Bass Clarinet - Digital Download SKU: A0.1069920 Composed by Felix Alexandre Guilma…
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Bass Clarinet - Digital Download SKU: A0.1069920 Composed by Felix Alexandre Guilmant. Arranged by Stephen Davies. 20th Century,Concert,Romantic Period,Standards. Full Performance. Duration 858. Stephen Davies #5755547. Published by Stephen Davies (A0.1069920). SWEET SUITE: QUARTET FOR CLARINETS Featuring the music of ALEXANDRE GUILMANT In this delightful suite of 4 movements, I have chosen four very eclectic works by the French Organist and Composer Alexandre Guilmant. In his time (1837-1911) he helped found the Schola Cantorum of Paris, and served as Professor of Organ at the Paris Conservatoire from 1896 until his death. His Wiki entry is an interesting read!! Oh, and don't be fooled by the gentle lilt of the first movement! 1. CHANT DU MATIN This jolly piece has a very memorable theme, with an almost Music Hall 'middle eight' section, littered with grace notes, and ends with a big 'film' finish! 2. FUGUE GRAVE Blessed with beautifully lush harmonies, and with the unusual theme based on the diminished 7th, it quite literally makes the Clarinet Quartet sing. 3. ASPIRATION RELIGIEUSE Despite the religious connotations in the title, this is an almighty vehicle for the Bass Clarinet to shine!The 3 Bb Clarinets hold a singularly static but lovely theme above, as the Bass Clarinet tumbles over the chords with relish from start to finish. A must play for your Bass player! 4. FUGHETTA IN A MINOR This is just a fantastic musical romp for 4 accomplished players! Once one player has the jaunty melody line, everyone wants to be a part of it! ... also includes some well written 'quirky' off-beat rhythms on the Bass part. Good luck!! COMPOSER Alexandre Guilmant ARRANGERS Stephen Davies INSTRUMENTS 3 Bb Clarinet & Bass Clarinet FORMAT Score, Set of Parts GENRES Impressionistic, Post-Romantic, Repertoire, Recital LEVEL Advanced Intermediate.
$1.99
1.84 €
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Quatuor de Clarinettes: 4 clarinettes
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Felix Alexandre Guilmant
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Stephen Davies
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Sweet Suite,featuring the music of Alexandre Guilmant for Clarinet Quartet.
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Stephen Davies
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SheetMusicPlus
First Love - 1st Movement
Piano Trio: piano, violon, violoncelle
Piano Trio,String Ensemble Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1047…
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1047344 By Blaze Scheuerman. By Blaze Scheuerman. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 29 pages. Blaze Scheuerman #651902. Published by Blaze Scheuerman (A0.1047344). First love is inspired by my experience with the first partner I ever loved. It is also slightly inspired by Johann Sebastian Bach’s fugues from the Well Tempered Clavier and Muse’s song “Butterflies and Hurricanes†from the album “Absolutionâ€. It is meant to show the ups and downs of the relationship, especially how the more developed it got the more problems arose. It starts with a cloud-like scene meant to depict mild attraction. It then develops into infatuation in measure 21 as the main character gets to enjoy his experiences with his partner. It lasts for a little while as he finds newer and newer aspects of his partner that he enjoys. He then returns to a moment of stability with the restatement of the opening theme, and then tries again to get back into those moments of bliss. But this time something goes wrong. The character doesn’t quite realize it until it is too late, but a rift appears in the relationship. This is shown in the D Minor section, as the main character is sad and longing for things to go back to how they were, but is just stuck. After a while of trying different things, a settlement is reached and the two get closer again in the relationship, seen in measure 174. Except this time things are different, they are close to the bond shown earlier, except not quite there. This can be seen with the rearrangement of voices in regards to the melody, such as the cello having the melody except the violin in measure 190. Although the two try their best, the relationship once again reaches a rift between the two, seen with the reemergence of the D Minor section. They try once again to patch things up, but end up becoming unsuccessful and breaking apart. The final sections starting at measure 246 depict the sadness and anger that follow, before eventually reaching a resolution back into the home key of F Major.
$5.99
5.53 €
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Piano Trio: piano, violon, violoncelle
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Blaze Scheuerman
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First Love - 1st Movement
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Blaze Scheuerman
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SheetMusicPlus
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