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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSON
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133
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76
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26
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11
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1
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1
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VENTS
Flûte traversière et Piano
29
Clarinette et Piano
25
Clarinette
21
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
19
Saxophone Alto et Piano
19
Flûte traversière
16
Hautbois, Piano (duo)
15
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15
Saxophone Alto
11
Flûte, Hautbois, Clarinette, Basson
10
Saxophone Tenor et Piano
9
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9
Saxophone (partie séparée)
8
Saxophone Soprano et Piano
8
Saxophone Tenor
8
Ensemble de Flûtes
7
Clarinette Basse, Piano
6
Clarinette Basse
6
Hautbois
5
2 Saxophones (duo)
5
Ensemble de saxophones
5
Quatuor de Clarinettes: 4 clarinettes
4
2 Hautbois (duo)
4
Clarinette, Guitare (duo)
3
Quatuor de Flûtes : 4 flûtes
3
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Quintette de Clarinettes: 5 clarinettes
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Flûte traversière, Orgue (duo)
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1
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Trompette, Piano
23
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
13
Trompette
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Cor et Piano
8
Trombone et Piano
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Trombone
8
Quatuor de Cuivres
8
Cor
7
Trompette (partie séparée)
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Trombone (partie séparée)
4
2 Trombones (duo)
3
2 Trompettes (duo)
2
Tuba (partie séparée)
1
Ensemble de Trombones
1
Cor (partie séparée)
1
3 Trombones (trio)
1
Cor, Violoncelle (duo)
1
Euphonium, Piano (duo)
1
Trombone, Orgue
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2 Cors (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
65
Alto, Piano
31
Violon et Piano
31
Violon
30
Violoncelle
27
Violoncelle, Piano
22
Alto seul
20
Violon, Violoncelle (duo)
14
Harpe
11
Contrebasse, Piano (duo)
8
Contre Basse
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
2 Violons (duo)
6
Alto (partie séparée)
4
Alto, Guitare (duo)
3
2 Violoncelles (duo)
2
Contrebasse (partie séparée)
2
Trio à Cordes: 2 violons, violoncelle
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violoncelle , Guitare (duo)
1
Quatuor à cordes: 4 violons
1
Trio à Cordes: violon, alto, violoncelle
1
Alto, Violoncelle (duo)
1
Violon, Alto (duo)
1
Quatuor à cordes : 4 altos
1
Violon (partie séparée)
1
Alto et Basson
1
Violon, Basson (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
163
Cloches
25
Orchestre à Cordes
24
Orchestre
14
Ensemble de cuivres
11
Ensemble Jazz
10
Orchestre de chambre
8
Ensemble de Percussions
8
Batterie
6
Fanfare
4
Marimba
2
Xylophone, Piano
1
Vibraphone
1
Batterie (partie séparée)
1
Percussion (partie séparée)
1
2 Xylophones
1
Jazz combo
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AUTRES
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Alignment: Small Repetitions
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1157449 Composed by Rena Poling. Ch…
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Piano Solo - Level 4 - Digital Download SKU: A0.1157449 Composed by Rena Poling. Chamber,Classical,Contemporary. Score. 6 pages. Alto Media LLC #757782. Published by Alto Media LLC (A0.1157449). ALIGNMENT for solo piano: Movement 1 - Small Repetitions When you think you're going to die, even if you're not, it changes the way you look at things. This composition captures a glimpse of my journey with unexplained dizziness, panic, and anxiety. The harmonies begin in a state of misalignment, creating a musical brain-fog that lingers about the melody until posture is eventually corrected, and slowly, new habits of alignment are formed through small repetitions.
$12.00
10.72 €
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Piano seul
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Rena Poling
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Alignment: Small Repetitions
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Alto Media LLC
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SheetMusicPlus
Repetitions
Orchestre
Full Orchestra - Level 2 - Digital Download SKU: A0.939372 Composed by Adam Grim. C…
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Full Orchestra - Level 2 - Digital Download SKU: A0.939372 Composed by Adam Grim. Concert,Contemporary,Standards. Score and parts. 4 pages. Adam B. Grim #5726213. Published by Adam B. Grim (A0.939372). This piece is inspired by Terry Riley's In C. Repetitions is a solo for found objects and The Repeater Orchestra, a free program online that mimics live sounds in real time, and plays them back in a stereo/spacial environment. It has non-standard notation in a way, with single bits written on a staff arranged in an order to play them. The player is given freedom to repeat things as many times as they want, making the piece possible to play in under 2 minutes, to well into the dozens. In my interpretation (shown in the YouTube video), it takes around 11 minutes. This piece is about making a soundscape of repeated patterns, and overlapping and combining them to create one conglomerate. Instruments include: planks of wood, a bucket of water, ceramic tiles, a glass bottle with marbles in it, a can, and a separate glass bottle for hitting. Implements include: a 2 paintbrush, a ring, rubber xylophone mallets, and oak dowel rods with Moleskin wrapped on one tip. Note, I apologize for the feedback near the first third of the recording, I had to adjust the settings, and did not hear the feedback as hard as the computer did!
$4.99
4.46 €
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Orchestre
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Adam Grim
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Repetitions
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Adam B. Grim
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SheetMusicPlus
If You're Happy and You know it (Piano solo/accompaniment Royal Grade 1-2) Each song repetition in d
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.911067 Arranged by Yohana. Children…
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Easy Piano - Level 1 - Digital Download SKU: A0.911067 Arranged by Yohana. Children,Instructional. Score. 2 pages. Yohana #6132749. Published by Yohana (A0.911067). Are you trying to find a fresh version of this song? Then, this arrangement is for you.As you know this song has 3 repetitions of the same melody.I arrange it so every repetitions have different style of arrangements. You won't get bored with this one. :DAs a bonus you can play it either piano solo or accompaniment. (Royal Grade 1-2)
$5.99
5.35 €
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Piano Facile
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Yohana
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If You're Happy and You know it
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Yohana
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SheetMusicPlus
Repetitions - advanced piano solo
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.701973 Composed by Kevin G. Pace (A…
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Piano Solo - Level 5 - Digital Download SKU: A0.701973 Composed by Kevin G. Pace (ASCAP). 20th Century,Contemporary. Score. 7 pages. Kevin G. Pace #4357475. Published by Kevin G. Pace (A0.701973). An exciting, rambunctious, exuberant piano solo written for the advanced pianist by Kevin G. Pace.
$3.95
3.53 €
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Piano seul
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Kevin G
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Repetitions - advanced piano solo
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Kevin G. Pace
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SheetMusicPlus
Bela Bartok : Mikrokosmos, Volume I - N° 8 Répétition (I)
Piano seul
Téléchargez la partition Piano Mikrokosmos, Volume I - N° 8 Rép&e…
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Téléchargez la partition Piano Mikrokosmos, Volume I - N° 8 Répétition (I) de Bartók. Partition pour Piano seul -- Classique
2.99 €
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Piano seul
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Bela Bartok
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Mikrokosmos, Volume I
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Tomplay
Bela Bartok : Mikrokosmos, Volume I - N° 26 Répétition (II)
Piano seul
Téléchargez la partition Piano Mikrokosmos, Volume I - N° 26 Rép&…
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Téléchargez la partition Piano Mikrokosmos, Volume I - N° 26 Répétition (II) de Bartók. Partition pour Piano seul -- Classique
1.99 €
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Piano seul
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Bela Bartok
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Mikrokosmos, Volume I
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Tomplay
Repetition
Piano seul
Piano - Digital Download SKU: AX.00-PS-0009264 Composed by Neal Hefti. Pop/Rock. 3 …
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Piano - Digital Download SKU: AX.00-PS-0009264 Composed by Neal Hefti. Pop/Rock. 3 pages. Alfred Music - Digital Sheet Music #00-PS-0009264. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0009264).
$3.99
3.56 €
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Piano seul
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Neal Hefti
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Repetition
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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SURRENDER, Between the Octaves, A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Big Drum
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1202804 Composed by Richard Hirsch. 20th Century,Contemporary,New Age. Individual part. 9 pages. Richard Hirsch #801568. Published by Richard Hirsch (A0.1202804). I offer an original composition for solo acoustic guitar that I have carried with me over several decades and through several changes in living situation. I started working with the piece already back in the 1970s when I was living in Frankfurt/Main, Germany and kept developing it when I moved to Stockholm and from there to Gothenburg, Sweden. A first recording of the composition was made in a private studio just outside Gothenburg in 1987. I have only recently been able to transmit the piece to musical notation in preparation for publication.The piece has a relaxed nature and contains many repetitions of simple themes that are meant to evoke a sense of monotonous spaciousness. One musician who listened to the first recording said he thought it sounded minimalistic, which I thought was a good description, although at the time I was unaware that minimalism was a term used to describe a whole style of music. The piece has a rather meditative character in the first part, turning more rhythmic in the second part. The third part is a swing version of the first part and the piece ends with a return to the meditative straight first part. The piece is meant to be primitive in the sense of primordial and goes in something resembling a pentatonic scale based on A. The rhythmic second part should be played so that the guitar starts to hum an A tone, the humming carrying over into and through the more melodic sections. The composition has an organic development with slight variations in the basic themes as the piece progresses.Depending on the mood of the interpreting performer, the repetitions might be played in a different order or a different number of times. I seldom play the composition exactly the same every time myself. The piece has also worked as a basis for jam sessions with accompaniment of drums and a base, although the guitar had to have some sort of amplification. The piece can be played on either steel string or nylon string acoustic guitars, or electric guitars. I chose the title Big Drum because of the recurring base A that is a dominant feature of the piece, reminding me of the big drums played by people all over the world. The piece has a participatory character, especially in the more rhythmic and swing parts, inviting the listeners to clap, stamp their feet, or drum on whatever is available,As the notation is accompanied by tablature, I refrain from giving left hand fingering. The right hand fingering consists basically of base notes played by the thumb and treble notes played by alternating index and middle fingers in combination with the ring finger.
$4.99
4.46 €
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Guitare
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Richard Hirsch
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Big Drum
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Richard Hirsch
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SheetMusicPlus
911 Minimalist String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Digital Download SKU: A0.834443 Composed by Be'eri …
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String Quartet String Quartet - Digital Download SKU: A0.834443 Composed by Be'eri Moalem. 20th Century,Contemporary. Score and parts. 16 pages. Be'eri Moalem #4330137. Published by Be'eri Moalem (A0.834443). 911 Was written on Sept. 11, 2011. In addition to recalling the emotions felt during that day, the number 911 also evokes a sense of emergency. This pieces begins with frantic minimalist repetitions contrasting with a slower more introspective and sad melody. The two sections are then combined simultaneously. An optional improv section leaves the door open for performers to leave their own commentary under a hushed reprise of the frantic repetitions. Originally written for string trio, this is the string quartet version
$9.99
8.92 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Be'eri Moalem
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911 Minimalist String Quartet
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Be'eri Moalem
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SheetMusicPlus
Recuerdos de la Alhambra - Piano solo version
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.910932 Composed by Francisco Tarreg…
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Piano Solo - Level 4 - Digital Download SKU: A0.910932 Composed by Francisco Tarrega. Arranged by Reimund Merkens. 20th Century. Score. 10 pages. Reimund Merkens #5953749. Published by Reimund Merkens (A0.910932). This is a pure piano version of Francisco Tárrega's masterpiece for guitar. Francisco Tárrega wrote his guitar piece in 1896 while staying in Granada. He named it after the 13th century Moorish palace in that city. The title means Memories of the Alhambra. Recuerdos is the most famous example of the use of tremolo on the classical guitar. It’s a difficult technique for the right hand. Here is now my arrangement for solo piano which needs good repetition skills of the right hand. Therefore it can be seen as an etude as well. I love this song so much. So I adapt it to my favourite instrument. It needs bit practicing to manage the fast repetitions.See also my arrangement for full orchestra.
$5.50
4.91 €
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Piano seul
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Francisco Tarrega
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Reimund Merkens
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Recuerdos de la Alhambra - Piano solo version
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Reimund Merkens
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SheetMusicPlus
Seven Sketches
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1089752 Composed by Robert A. Howar…
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Piano Solo - Level 3 - Digital Download SKU: A0.1089752 Composed by Robert A. Howard. 21st Century,Classical,Contemporary,Contest,Festival,Instructional. Score. 21 pages. Robert A. Howard #693959. Published by Robert A. Howard (A0.1089752). This is the complete set of Sketches I-VII, that each elaborate upon ideas previously left dormant in sketch form. The first piece has a slow introductory feel, with a rising added-note chord sequence alongside a descending bass line, in crescendo. The second piece is based on a 7-bar ground bass (rising a minor third each time), that features considerable textural variation on each cycle, and culminates in a 3-part canon. The third piece explores the whole range of the piano in varied statements of a 10-bar semiquaver toccata theme, featuring canons and a superimposed scotch-snap theme. The fourth piece is cumulative, in four sections, and gradually descends in pitch by alternating hands in a minimalist build up of motifs, each followed by a chordal refrain. The fifth piece gradually builds up a right hand melody over various syncopated harmonies and appoggiaturas, before inverting the role of the hands. The sixth piece is a simple cycle of ascending repetitions of a 10-bar added-note chord sequence, with octave bass line, that rise by a perfect fifth each time. The seventh piece is a varied repetition of the opening movement (thus framing the cycle), with the initial chord sequence now arpeggiated, and with a fuller texture. The cycle is highly accessible and is appropriate for most standards of pianist, including students and more advanced players. Individual pieces from this Sketch cycle are also available separately, via Sheet Music Plus. Duration: 18 minutes.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$11.99
10.71 €
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Piano seul
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Robert A
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Seven Sketches
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Robert A. Howard
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SheetMusicPlus
Prelude No. 21 in Bb Major from 24 Preludes
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.862446 Composed by Michael Bomier. …
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Piano Solo - Level 3 - Digital Download SKU: A0.862446 Composed by Michael Bomier. Contemporary,Standards. Score. 2 pages. Michael Butkus-Bomier #2007883. Published by Michael Butkus-Bomier (A0.862446). A Minimalist piece, using a constant 16th note figure in the R.H. as the L.H. plays low in the bass clef and high in the treble, on beats One and Three. Two alternate fingerings are provided for the R.H. part, so that the player can vary it to avoid fatigue. Each repetition should have a change of the sustain pedal. The tune marches up and down the Bb major scale, with a chromatic F# providing minimal contrast in the middle of the piece. Each new melody tone is introduced along with the preceding one, as a dyad,and then the leading note plays alone, followed by the next new dyad, except for the lone color-tone F#, which is presented by itself. It concludes with a coda that has the upper L.H. note staying on F, whilst the lower one proceeds down to Bb, and One Note Beyond, to A. Each measure is repeated three times. Approx. duration 3 mins 15-30 secs. Typical Minimalist features, and Counting each measure's repetitions is essential!
$1.99
1.78 €
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Piano seul
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Michael Bomier
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Prelude No. 21 in Bb Major from 24 Preludes
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Michael Butkus-Bomier
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SheetMusicPlus
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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THREAD, Between the Octaves A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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ENCIRCLE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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IGNITE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Frere Jacques
2 Violons (duo)
Violin Duet Violin - Level 1 - Digital Download SKU: A0.1497811 Composed by Traditi…
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Violin Duet Violin - Level 1 - Digital Download SKU: A0.1497811 Composed by Traditional. Arranged by D. Berry. Chamber,Children,Classical,Folk,Traditional. 5 pages. D. Berry #1074221. Published by D. Berry (A0.1497811). Frere Jacques is a well known round. The lyrics: Frère Jacques, frère Jacques, dormez-vous? dormez-vous? sonnez les matines, sonnez les matines, ding-ding-dong, ding-ding-dong tell the story of a sleepy friar who has failed to wake up for morning prayers. This version for violin duet preserves some aspects of the round, while also elaborating on the arrangement. The top (student) part is easy since it simply consists of several repetitions of the melody, while the teacher part is more developed and gives interest to the performance as the piece develops. This is a good first concert piece for beginners to play with a teacher or more advanced student, and is also suitable for group performance.
$4.99
4.46 €
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2 Violons (duo)
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Traditional
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D
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Frere Jacques
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D. Berry
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SheetMusicPlus
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
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CURVE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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RITUALISE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by…
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Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.87 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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INITIATE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Tengo un tango [violin, violoncello and piano]
Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 4 - Digital Download …
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Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU: A0.1504131 By Juan Maria Solare. By Juan Maria Solare. 21st Century,Instructional,Jazz,Latin,Multicultural,World. 21 pages. Juan Maria Solare #1079587. Published by Juan Maria Solare (A0.1504131). Tengo un tango: A representative of the new era of the tango argentino. The piece was featured in (at least) five CDs by different artists. This version is the composer's version for piano trio (violin, cello and piano).Listen to the Trio Cordilleras playing Tengo un tango.Tengo un tango was composed in Cologne (Germany) in 2004. This piece, which duration is approximately 5'00 (or less if you don't play all repetitions), is dedicated to two friends of the composer, Nicola B. Lahn and Walter Samsel, for their marriage.When it began to increase in popularity, the composer arranged this piece for 20 or more different instrumentations ranging from guitar quartet to piano trio and several chamber music combinations from duo to nonet.Tengo un tango is one of those pieces from which one thinks:How is it possible that it didn't exist since always?(Margarita Pollini, 15 October 2009).
$5.00
4.47 €
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Juan Maria Solare
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Tengo un tango [violin, violoncello and piano]
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Juan Maria Solare
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SheetMusicPlus
La frontera alucinada
Guitar - Digital Download SKU: ZZ.DZ-4343 Composed by Marco Smaili. Arranged by Cri…
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Guitar - Digital Download SKU: ZZ.DZ-4343 Composed by Marco Smaili. Arranged by Cristiano Porqueddu. Score. 5 pages. Les Productions d'OZ - Digital #DZ 4343. Published by Les Productions d'OZ - Digital (ZZ.DZ-4343). La frontera alucinada alludes to the imprecision of the various emotional territories in which the reality of pain is confused with the hallucinated madness of happy serenity.It is a music that gradually melts as if it were wax based on variations or repetitions of an obsessive and hopeless cell that serves as a bridge between the various new elements that emerge with forms of pain or serenity. Music that is difficult to understand that aims to leave the listener with multiple unresolved questions. The work is a tribute to George Crumb and it is dedicated to Cristiano Porqueddu.- Marco Smaili, Alicante 2024La frontera alucinada évoque l’imprécision des diverses zones émotionnelles où la réalité de la douleur se confond avec la folie hallucinée d’une sérénité heureuse.C’est une musique qui se «fond progressivement comme de la cire» basée sur des variations ou répétitions d’une cellule obsessionnelle et désespérée qui sert de pont entre les différents nouveaux éléments émergeant avec des formes de douleur ou de sérénité. C’est une musique difficile à comprendre qui vise à laisser l’auditeur avec de multiples questions non résolues. L’œuvre est un hommage à George Crumb et est dédiée à Cristiano Porqueddu.- Marco Smaili, Alicante 2024.
$3.95
3.53 €
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Marco Smaili
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Cristiano Porqueddu
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La frontera alucinada
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Les Productions d'OZ - Digital
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SheetMusicPlus
Ebben? Ne andrò lontana for Violin & Cello (String Duet)
Violon, Violoncelle (duo)
Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1491165 Compose…
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Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1491165 Composed by Alfredo Catalani. Arranged by GP. Chamber,Classical,Opera,Sacred. 9 pages. GP #1067910. Published by GP (A0.1491165). Ebben? Ne andrò lontana for Violin & Cello (String Duet) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Score and parts included:Score - 2 pagesViolin - 2 pagesCello - 2 pages- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - About Us:We are a small team of professional musicians who have set ourselves the goal of creating high-quality sheet music for a variety of music pieces. Our main focus is on the clear readability of the notes. We avoid unnecessary repetitions and design the pieces in such a way that, if possible, they fit on just two pages. This allows you to play comfortably without constantly having to turn pages. Our mission is to enable you to play and enjoy your favorite music pieces.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Here you will find a selection of other beautiful songs from various genres, arranged by us for you: Our Songs for You Thank you for shopping with us!- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -.
$20.00
17.87 €
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Violon, Violoncelle (duo)
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Alfredo Catalani
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GP
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Ebben? Ne andrò lontana for Violin & Cello
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GP
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SheetMusicPlus
Répétitions (2024)
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1493845 Composed by Thomas O…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1493845 Composed by Thomas Oboe Lee. 20th Century,21st Century,Chamber,Classical. Score. 57 pages. Thomas Oboe Lee #1070502. Published by Thomas Oboe Lee (A0.1493845). Full scoreProgram note. I did my first foray into poems by the French surrealist Paul Éluard with a song cycle of eight poems from his Mourir de ne pas mourir. And now I am diving into his series of poems entitled, Répétitions. I found a beautiful little book of these poems with illustrations by Max Ernst. There are nine of these pen and ink drawings and I chose for the song cycle nine poems which were matched each with a Max Ernst illustration. 1. Max Ernst 2. L'Invention 3. La parole 4. Nul 5. Les Mouton 6. Nul 7. Luire 8. Raison de plus 9. A la minute
$9.99
8.92 €
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Piano, Voix
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Thomas Oboe Lee
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Répétitions
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Thomas Oboe Lee
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SheetMusicPlus
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