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The Way We Were - Full Score
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Irish National Anthem (Unofficial) for String Orchestra
Orchestre à Cordes
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.15 €
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Orchestre à Cordes
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trad
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Keith Terrett
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
We Must Learn to Walk Together
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.62 €
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Piano, Voix et Guitare
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
The Way We Were
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.515919 By Barbra S…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.515919 By Barbra Streisand. By Marvin Hamlisch. Arranged by Eve C. Mailly. Contemporary,Film/TV,Pop,Standards,Wedding. Score and parts. 9 pages. Zene Strings #6253527. Published by Zene Strings (A0.515919). The Way We Were is more often recognized by the first word in the song -- Memories. Made famous by Barbra Streisand, the song is a favorite choice for a variety of events. This arrangement is for string trio. As with all of our trio arrangements, the middle part is included in both treble and alto clef, giving you the flexibility of performing with either two violins and a cello, or a violin, viola and cello.  From your friends at Zene Strings - enjoy!To see our other great arrangements visit: Zene Strings.  Questions or comments?  Email us at Music@ZeneSheetMusic.com.  We're here to help!
$12.99
11.78 €
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Barbra Streisand
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Eve C
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The Way We Were
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Zene Strings
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SheetMusicPlus
Classic Movie Themes (5-Piece Digital Pack)
Piano, Voix et Guitare
Piano, voice and guitar (chords only) - Interactive Download SKU: HX.19724 By Franc…
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Piano, voice and guitar (chords only) - Interactive Download SKU: HX.19724 By Frances Lai. This edition: Interactive Download,scorch. Film/TV,French,Jazz,Latin,Love,Standards. Score. 4 pages. Hal Leonard - Digital #512810. Published by Hal Leonard - Digital (HX.19724).
Digital Pack includes:Call Me IrresponsibleThe Way We WereSomewhere Out ThereThe Music Of GoodbyeA Man And A Woman (Un Homme Et Une Femme)
$9.99
9.06 €
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Piano, Voix et Guitare
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Frances Lai
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Classic Movie Themes
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Hal Leonard - Digital
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SheetMusicPlus
Beyond The Sea
Piano seul
Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry,…
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Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry, Charles Trenet, and Jack Lawrence. Arranged by Tobi A Crawford. Contemporary,Jazz. Score (Chords/Lyrics). 7 pages. Tobi Crawford #981711. Published by Tobi Crawford (A0.1398436). This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson and Sara Gazarek improvise on ballads for inspiration.
$25.00
22.67 €
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Piano seul
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Bobby Darin
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Tobi A Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
When the World Drops In to Town
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893864 Composed by Da…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893864 Composed by David Kai. Celtic,Folk,Pop. Score. 5 pages. David Kai #6100233. Published by David Kai (A0.893864). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song is dedicated to my spouse Marly's parents, Isaac and Sybil who were a part of the crew who helped the plane people in Gander through their involvement in the Anglican church. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! Take it all to help the plane people, it’s the least that we can do! Aunt Winnie baked two dozen of her partridgeberry pies She said, I think those plane people will be in for some surprise! So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:
$3.00
2.72 €
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Piano, Voix et Guitare
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David Kai
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When the World Drops In to Town
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David Kai
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SheetMusicPlus
Jesus Shall Reign Where'er the Sun
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
4.52 €
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Piano seul
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the Sun
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Paul Thurmond
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SheetMusicPlus
The Water is Wide for Viola & Piano
Alto, Piano
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoir…
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Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publications
$32.95
29.88 €
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Alto, Piano
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Traditional Scottish
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James M
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The Water is Wide for Viola & Piano
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jmsgu3
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SheetMusicPlus
The Way We Were
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201552 By Barbra Str…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201552 By Barbra Streisand. By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by John Fries. 20th Century,Film/TV,Pop,Standards. Score. 2 pages. John Fries #800172. Published by John Fries (A0.1201552). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. The Way We Were is a song by American singer Barbra Streisand from her fifteenth studio album of the same name. Its lyrics detail the melancholic relationship between the two main characters in the 1973 film of the same name. American composer and producer Marvin Hamlisch created the final melody for The Way We Were, which initially was a problem between himself and the singer. Streisand had asked Hamlisch to produce a composition in minor key, but he instead wrote it in major key due to his fear of the song's lyrics being revealed too quickly.
$4.99
4.52 €
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Piano, Voix et Guitare
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Barbra Streisand
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John Fries
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The Way We Were
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John Fries
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SheetMusicPlus
The Way We Were
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794062 By Barbra Streisand. …
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794062 By Barbra Streisand. By Marvin Hamlisch. Arranged by Dave Gingras, John E. Dosher. Contemporary. Score. 2 pages. DAVID LEE GINGRAS #5888063. Published by DAVID LEE GINGRAS (A0.794062). The Way We Were is a song recorded by American vocalist Barbra Streisand for her fifteenth studio album, The Way We Were (1974). It was physically released as the record's lead single on September 27, 1973 through Columbia Records. The recording was written by Alan Bergman, Marilyn Bergman and Marvin Hamlisch, while production was solely handled by Marty Paich. This contemporary version for the piano features a root-based chord blocking technique John and I have used in a number of our arrangements. Sounds great and not too hard to play!
$4.99
4.52 €
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Piano, Voix
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Barbra Streisand
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Dave Gingras, John E
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The Way We Were
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DAVID LEE GINGRAS
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SheetMusicPlus
The Way We Were
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1446709 By Barbra Streisand.…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1446709 By Barbra Streisand. By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by Fred Barton. Film/TV,Pop,Standards. Score. 6 pages. Fred Barton Music #1026475. Published by Fred Barton Music (A0.1446709). A shattering climax, with the return of the main tune after the second bridge, is the highlight of this new piano-vocal arrangement, which ranges from romantic mystery to mainstream pop with a classical framework. Starting low and slow, a modulation upwards into the repeat of the bridge lifts the vocal into the mid-high range for the fireworks – then the song ends in a warm, contemplative mood.
$6.95
6.3 €
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Piano, Voix
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Barbra Streisand
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Fred Barton
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The Way We Were
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Fred Barton Music
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SheetMusicPlus
The Way We Were
Small Ensemble Drum Set,Vibraphone - Level 3 - Digital Download SKU: A0.867473 By B…
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Small Ensemble Drum Set,Vibraphone - Level 3 - Digital Download SKU: A0.867473 By Barbra Streisand. By Marvin Hamlisch. Arranged by K Davies. Contemporary. Score and parts. 35 pages. Bandmusic.co.uk #3129341. Published by Bandmusic.co.uk (A0.867473). A moving brass band arrangement of this 1973 hit for Barbra Streisand used as the theme music for the film of the same name. It includes an 8 bar pseudo ad lib solo on Euphonium prior to the return of the main motif towards the end of the arrangement. A certain crowd pleaser. .
$45.00
40.8 €
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Barbra Streisand
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K Davies
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The Way We Were
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Bandmusic.co.uk
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SheetMusicPlus
The Way We Were
Piano seul
Piano Solo - Digital Download SKU: A0.884456 By Barbra Streisand. By Marvin Hamlisc…
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Piano Solo - Digital Download SKU: A0.884456 By Barbra Streisand. By Marvin Hamlisch. Arranged by Betty May Hansen. Contemporary. Score. 3 pages. The Betty May Hansen Collection #4886325. Published by The Betty May Hansen Collection (A0.884456). From the hit 1973 movie - The Way We Were - starring Robert Redford and Barbara Streisand.
$4.99
4.52 €
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Piano seul
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Barbra Streisand
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Betty May Hansen
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The Way We Were
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The Betty May Hansen Collection
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SheetMusicPlus
The Way We Were
Small Ensemble - Level 4 - Digital Download SKU: A0.757675 By Barbra Streisand. By …
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Small Ensemble - Level 4 - Digital Download SKU: A0.757675 By Barbra Streisand. By Marvin Hamlisch. Arranged by Polar Publications. Contemporary. Score and parts. 19 pages. Polar Publications #3501737. Published by Polar Publications (A0.757675). The title song from the classic movie The Way We Were make gorgeous brass quartet or choir ballad.
$20.00
18.13 €
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Barbra Streisand
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Polar Publications
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The Way We Were
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Polar Publications
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SheetMusicPlus
The Way We Were
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.609665 By Barbra Streisand. By Marv…
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Piano Solo - Level 3 - Digital Download SKU: A0.609665 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Score. 2 pages. Kevin Busse #5376025. Published by Kevin Busse (A0.609665). This is a simple transcription of The Way We Were in the original key for Piano.
$4.99
4.52 €
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Piano seul
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Barbra Streisand
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Kevin Busse
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The Way We Were
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Kevin Busse
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SheetMusicPlus
The Way We Were
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.609698 By Barbra Streisand. By Marv…
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Piano Solo - Level 1 - Digital Download SKU: A0.609698 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Score. 2 pages. Kevin Busse #5376147. Published by Kevin Busse (A0.609698). This is a simple transcription of The Way We Were in the easy key of C for Piano.
$4.99
4.52 €
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Piano seul
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Barbra Streisand
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Kevin Busse
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The Way We Were
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Kevin Busse
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SheetMusicPlus
The Way We Were
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1136229 By Barbra Streisand. By Ala…
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Piano Solo - Level 3 - Digital Download SKU: A0.1136229 By Barbra Streisand. By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by Daniel Silveira. Film/TV. Score. 2 pages. Daniel Silveira / Marcia Moreira #736252. Published by Daniel Silveira / Marcia Moreira (A0.1136229). Intermediate level arrangement for Piano Solo - The Way We Were (Barbra Streisand).
$5.99
5.43 €
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Piano seul
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Barbra Streisand
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Daniel Silveira
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The Way We Were
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Daniel Silveira / Marcia Moreira
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SheetMusicPlus
The Way We Were
Piano Facile
Easy Piano - Level 2 - Digital Download SKU: A0.609681 By Barbra Streisand. By Marv…
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Easy Piano - Level 2 - Digital Download SKU: A0.609681 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Score. 2 pages. Kevin Busse #5376083. Published by Kevin Busse (A0.609681). This is a simple transcription of The Way We Were in a good range for Piano.
$4.99
4.52 €
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Piano Facile
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Barbra Streisand
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Kevin Busse
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The Way We Were
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Kevin Busse
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SheetMusicPlus
Pitcairn Local Anthem (The Royal Telephone/We From Pitcairn Island”) for Voice & Piano
Piano seul
Piano - Level 3 - Digital Download SKU: A0.1207336 By Keith Terrett. By Frederick M…
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Piano - Level 3 - Digital Download SKU: A0.1207336 By Keith Terrett. By Frederick M. Lehman. Arranged by Keith Terrett. Historic,Multicultural,Patriotic,Praise & Worship,Traditional,World. Score (Chords/Lyrics). 3 pages. Keith Terrett #805498. Published by Keith Terrett (A0.1207336). The Pitcairn Islands are a remote British colony in the South Pacific, famous for being the site where the mutineers from the HMS Bounty landed. The islands’ population have always been very small (currently numbering around 50), yet, aside from the official anthem of God Save the King (which is not heard often on the islands), there have been, and continue to be, many unofficial anthems in use in the colony.In Diana Jolliffe Belcher’s 1871 book “The Mutineers of the Bounty and their Decendants in Pitcairn and Norfolk Island†it is reported that a local poem by Rev. G. H. Nobbs was set to the tune “Rousseau’s Dream†(sheet music) and was considered by Pitcairners to be their anthem at the time. It is not known for how long this was considered as their anthem, however. Also, in 1856, several Pitcairners resettled on Norfolk Island as Pitcairn had become too small. The local anthem now in use on Norfolk Island, Come Ye Blessed, is also referred to as the “Pitcairn Anthemâ€, and more than likely was brought to the island by the Pitcairn settlers, suggesting that this anthem was in use on Pitcairn at that time, and is also heard on Pitcairn currently.Currently, the song “We From Pitcairn Island†(to the tune of the hymn “The Royal Telephoneâ€) is used as an unofficial anthem at gatherings and the like. The lyrics were written by Pitcairner Melva Evans with assistance from the local Seventh Day Adventist Pastor L. A. J. Webster in 1962 to be performed by the school children on board a visiting cruise ship, but the song became identified by residents as their unofficial anthem. Other songs, such as “The Goodbye Song†(written by Pitcairner Amelia Young), and the hymn “In The Sweet By and By†are considered unofficial “Pitcairn songs†at gatherings as well. (“Goodbye songsâ€, sung to ships as they leave the country, are a tradition in many Polynesian islands, and are part of the patriotic music of those countries.).
$4.99
4.52 €
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Piano seul
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Keith Terrett
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Keith Terrett
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Pitcairn Local Anthem
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Keith Terrett
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SheetMusicPlus
The Way We Were
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1301323 By Barbra Str…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1301323 By Barbra Streisand. By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by Bernie Schweickart. 20th Century,A Cappella,Barbershop,Broadway,Film/TV,Musical/Show. Score. 2 pages. Dogwooddigs #890961. Published by Dogwooddigs (A0.1301323). Beautiful Song From Barbra Streisend. FUN TO PLAY!
$4.99
4.52 €
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Piano, Voix et Guitare
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Barbra Streisand
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Bernie Schweickart
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The Way We Were
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Dogwooddigs
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SheetMusicPlus
The Way We Were
Piano seul
By Barbra Streisand. By Marvin Hamlisch, Alan Bergman, and Marilyn Bergman. Arranged b…
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By Barbra Streisand. By Marvin Hamlisch, Alan Bergman, and Marilyn Bergman. Arranged by Timothy Stapay/Liberace. Broadway, Film/TV, Multicultural, Musical/Show, Pop, Standards, World. Score. 8 pages. Timothy Stapay #733728. Published by Timothy Stapay
$8.99
8.15 €
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Piano seul
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Barbra Streisand
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Timothy Stapay/Liberace
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The Way We Were
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Timothy Stapay
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SheetMusicPlus
The Way We Were
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.731943 By Barbra…
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.731943 By Barbra Streisand. By Marvin Hamlisch. Arranged by Thomas Quigley. Contemporary. Score and parts. 8 pages. Thomas Quigley #3516633. Published by Thomas Quigley (A0.731943). Suitable for student or amateur players, this is a sensitive string arrangement which is not difficult to perform. The style is slightly jazzy at times, notably in the middle section -when the cello has the melody- and at the final cadence. The warm, rich harmonies and appropriate dynamics add to the overall expression, making this highly enjoyable to perform. .
$12.99
11.78 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Barbra Streisand
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Thomas Quigley
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The Way We Were
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Thomas Quigley
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SheetMusicPlus
The Way We Were
Flûte traversière et Piano
Flute,Piano - Digital Download SKU: A0.502628 By Barbra Streisand. By Alan Bergman,…
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Flute,Piano - Digital Download SKU: A0.502628 By Barbra Streisand. By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by Shao Suan LOW. Film/TV,Pop. Score and part. 4 pages. Published by Shao Suan low (A0.502628). I arranged this song for flute and piano as I love the sound of the flute and I felt that the melody would sound lovely on the flute.
$6.00
5.44 €
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Flûte traversière et Piano
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Barbra Streisand
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Shao Suan LOW
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The Way We Were
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Shao Suan low
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SheetMusicPlus
The Way We Were
Small Ensemble - Level 3 - Digital Download SKU: A0.733957 By Barbra Streisand. By …
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Small Ensemble - Level 3 - Digital Download SKU: A0.733957 By Barbra Streisand. By Marvin Hamlisch. Arranged by Daryl McKenzie. Contemporary,Film/TV,Pop. Score and parts. 9 pages. Daryl McKenzie #3620475. Published by Daryl McKenzie (A0.733957). Female Vocal (no voice part included) Key of Ab major.  Keyboards (Piano/Strings), Guitar, Bass & Drums. No Score included. More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.comYoutube Playlist: https://bit.ly/3m0oUkH
$12.99
11.78 €
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Barbra Streisand
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Daryl McKenzie
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The Way We Were
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Daryl McKenzie
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SheetMusicPlus
The Way We Were
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.802484 By Barbra Streisand. By …
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Brass Ensemble - Level 3 - Digital Download SKU: A0.802484 By Barbra Streisand. By Marvin Hamlisch. Arranged by Peet du Toit. Contemporary. Score and parts. 14 pages. Peet du Toit #5724631. Published by Peet du Toit (A0.802484). An unexpected, but welcome version for a brass quintet to portray the tale of this romantic drama film (1973). Enjoy! .
$18.00
16.32 €
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Ensemble de cuivres
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Barbra Streisand
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Peet du Toit
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The Way We Were
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Peet du Toit
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SheetMusicPlus
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