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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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CLARINETTE
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COR
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CORNET
DEEJAY
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LIVRES
LUTH
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OCARINA
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ORGUE
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SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Treat Me Rough
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5
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2
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6
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1
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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CLARINETTE
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Vous avez sélectionné:
Treat Me Rough
SheetMusicPlus
Partitions à imprimer
34 partitions trouvées
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1
26
ME AND MY MUSIC
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Voix Alto, Piano
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Hilary Brooks, Lyrics by Clive
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ME AND MY MUSIC
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Hilary Brooks
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SheetMusicPlus
Alto Voice,Vocal Solo - SKU: A0.1017881 Composed by Hilary Brooks, Lyrics by Clive King. Broadway,Celtic,Film/TV,Musical/Show. 15 pages. Hilary Brooks #...
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Alto Voice,Vocal Solo - SKU: A0.1017881 Composed by Hilary Brooks, Lyrics by Clive King. Broadway,Celtic,Film/TV,Musical/Show. 15 pages. Hilary Brooks #6344933. Published by Hilary Brooks (A0.1017881). Musical theatre. A travelling song. An adventure song. A song full of idealistic expectation. The opening number from WEE FREE! The Musical Piano/Voice. 15p. For F solo. 1984. Morna escapes the city to teach music on the remote Isle of Munst. When she accidentally marries a pillar of the community, she finds herself at odds with the quirks of The Kirk and the strange ways of the locals. Can a New Romantic survive on an island ruled by The Old Testament? Cleverly written... great songs... outstanding cast... crisp direction. **** The Herald Delightful performances... fine sings of love and disappointment... has the audience rolling in the aisles. **** The Scotsman A rare and scintillating treat... funny and cannily observant. **** Mumble Musicals A chamber musical for four actors - 2F, 2M. Original production length: 57 minutes. Suitable for MT students, colleges, MT societies. contact: @BrooksandKing Brooks & King are represented by Micheline Steinberg Associates: micheline@steinplays.com. 020 3214 8282 Script perusal and hires can be arranged through MSA
$5.86
He Leadeth Me
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Violon et Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Christopher Alexander and Kels
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Christopher Alexander
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He Leadeth Me
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Christopher Alexander
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SheetMusicPlus
Piano,Violin - Level 3 - SKU: A0.1260156 By Christopher Alexander and Kelsei Peppars. By William B. Bradbury. Arranged by Christopher Alexander. Christi...
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Piano,Violin - Level 3 - SKU: A0.1260156 By Christopher Alexander and Kelsei Peppars. By William B. Bradbury. Arranged by Christopher Alexander. Christian,Religious,Sacred. 16 pages. Christopher Alexander #852671. Published by Christopher Alexander (A0.1260156). The Bradbury hymn gets the classical music treatment with this arrangement. Â A legato violin melody effortlessly sings over the consistent eighth-note drive in the piano. Â The left hand of the pianist gets to play the melody alongside arpeggiations from both the right hand and the violin. Â With final chord hits stereotypical of classical music to end the work, you and your audience will be thoroughly entertained in this cheerful rendition.
$2.50
Op. 41, No. 6: Amour me tue from Songs of Gouvy, V1 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 41, No. 6: Amour me tue fr
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - SKU: MQ.8491-12E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 6 pages. E. C. Sc...
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Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - SKU: MQ.8491-12E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 6 pages. E. C. Schirmer Music Company - Digital #8491-12E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-12E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.
$3.00
Don't Stop Me Now
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Ensemble Jazz
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INTERMÉDIAIRE
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Queen
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John Ivor Holland
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Don't Stop Me Now
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John Ivor Holland
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1439369 By Queen. By Freddie Mercury. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Rock. 51 p...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1439369 By Queen. By Freddie Mercury. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Rock. 51 pages. John Ivor Holland #1019377. Published by John Ivor Holland (A0.1439369). Don't Stop Me Now is a song by the British rock band Queen, written by frontman Freddie Mercury, featured on their 1978 album 'Jazz' and released as a single on 26 January 1979. Featuring in films, commercials, and television shows, the song has grown in popularity in the decades since its release. Bobby Olivier of Billboard attributes its initial rebirth to its appearance in the 2004 cult classic zombie apocalypse film 'Shaun of the Dead' and in 2014, Rolling Stone readers voted it their third-favourite song by Queen. The single reached number 9 in the UK charts but only number 86 in the US; despite this, the song has grown in stature with time and has been popularised not only by consistent airplay, but by its use in advertisements, television programmes and films, and through cover versions. Have a good time with your band and vocalist in this authentic treatment, featuring solo for your star tenor sax player.
$59.99
Jesus Loves Me---This I Know!
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Piano, Voix
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FACILE
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Musique Sacrée
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Jeneal Teander
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Jeneal Teander
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Jesus Loves Me---This I Know!
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North State Publishing Company
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.778484 Composed by Jeneal Teander. Arranged by Jeneal Teander. Children,Folk,Praise & Worship,Sacred,Spiritual. Sc...
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Piano,Vocal,Voice - Level 2 - SKU: A0.778484 Composed by Jeneal Teander. Arranged by Jeneal Teander. Children,Folk,Praise & Worship,Sacred,Spiritual. Score. 2 pages. North State Publishing Company #385978. Published by North State Publishing Company (A0.778484). This is a new treatment of this song with a new and energetic melody. Kids will enjoy this music because it calls attention to their shortcomings in a funny way---they'll love it! It would be good to memorize these words and carry the message all through life ...and I pray for lasting peace, bless our homes and bless our streets. Unfortunately, safety and security are on their minds. Thank you for loving me is the closing lyric.
$2.00
Give Me Music!
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Chorale SATB
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Amy F Bernon
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Give Me Music!
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Heritage Music Press
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SheetMusicPlus
SATB choir divisi and Piano - SKU: LX.15-2998H Composed by Amy F Bernon. Prima Cantate Series. Concert. Octavo. 20 pages. Heritage Music Press #e15/2998...
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SATB choir divisi and Piano - SKU: LX.15-2998H Composed by Amy F Bernon. Prima Cantate Series. Concert. Octavo. 20 pages. Heritage Music Press #e15/2998H. Published by Heritage Music Press (LX.15-2998H). ISBN 9781429131964. Text: Richard Watson Gilder.A festive celebration of the transcendent power of music to make life whole and meaningful, this unusual, lesser-known text is given a fresh treatment through Amy's unique compositional voice. Give me Music is an excellent choice for concert or contests.
$2.95
Create in Me a Clean Heart (TTB or TBB choir, a cappella)
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Anonymous
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Anthony Giamanco
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Create in Me a Clean Heart
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Whole Tone Press
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SheetMusicPlus
Choral TTB/TBB Choir, a cappella (TB) - Level 2 - SKU: A0.773743 Composed by Anonymous. Arranged by Anthony Giamanco. A Cappella,Contemporary,Easter,Sac...
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Choral TTB/TBB Choir, a cappella (TB) - Level 2 - SKU: A0.773743 Composed by Anonymous. Arranged by Anthony Giamanco. A Cappella,Contemporary,Easter,Sacred. Octavo. 4 pages. Whole Tone Press #4792885. Published by Whole Tone Press (A0.773743). An anonymous folk-like melody paired with Psalm 51:10 is given a simple, but beautiful treatment for TTB or TBB voices, a cappella. A perfect selection for worship services, especially during Lent, and a nice addition to any sacred concert that features a men's choir or trio. Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com and JW Pepper. Anthony's music can be heard on his website, anthonygiamanco.com, and on YouTube. Contact info: tony@shalomlife.org.
$1.99
A Lucky Star, A 1920s Musical in 2 Acts Songbook
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Chorale SATB
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INTERMÉDIAIRE
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Comédie Musicale
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James Nathaniel Holland
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A Lucky Star, A 1920s Musical
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James Nathaniel Holland
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.730513 Composed by James Nathaniel Holland. Broadway,Jazz,Musical/Show. Octavo. 103 pages. James Nathaniel Holla...
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Choral Choir (SATB) - Level 3 - SKU: A0.730513 Composed by James Nathaniel Holland. Broadway,Jazz,Musical/Show. Octavo. 103 pages. James Nathaniel Holland #6040031. Published by James Nathaniel Holland (A0.730513). A celebration of the Roaring 20s for the new roaring 2020s. All the jazzy choruses, solos, trios and duets in one place from the Musical A Lucky Star contained in one place, fully arranged for voice and piano with chords (guitar or banjo) by American composer James Nathaniel Holland (music and lyrics). The story follows a young man as he dreams of moving from the Midwest to New York City in the year 1924. Songs included are: I Ain't Doin' Homework, This Town, Such is the County Fair (with mini-ballet), What the Heck Do I Care, An Inspiration (That Lucky Star), The Letter, New York The Town of Your Dreams, Music and Words, Bad Ain't So Bad (a 1920s flapper number), O Baby You Treat Me Too Rough (a Charleston type trio and women's chorus), So Alone Am I, and the touching song Indiana for chorus and separate arrangements for solo voice. Full piano vocal score, full orchestral score, and orchestral accompaniments sold separately.YouTube Playlist Demo:https://www.youtube.com/playlist?list=PLEcbVsA36MCva9aAwNei4XFxFQdI5Jiio
$14.95
A Lucky Star, A 1920s Musical in 2 Acts Piano Vocal Score
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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James Nathaniel Holland
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A Lucky Star, A 1920s Musical
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James Nathaniel Holland
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.730514 Composed by James Nathaniel Holland. 20th Century,Broadway,Jazz,Musical/Show,Opera. Score. 181 pages...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.730514 Composed by James Nathaniel Holland. 20th Century,Broadway,Jazz,Musical/Show,Opera. Score. 181 pages. James Nathaniel Holland #6050351. Published by James Nathaniel Holland (A0.730514). A celebration of the Roaring 20s for the new roaring 2020s. Jazzy choruses, solos, trios and duets, dances and spoken scenes from the Musical A Lucky Star, Full Vocal/Piano with chords (for optional guitar or banjo) with measure numbers that align to the orchestral score by American composer James Nathaniel Holland (book, music and lyrics). The story follows a young man as he dreams of moving from the Midwest to New York City in the year 1924. Songs included are: I Ain't Doin' Homework, This Town, Such is the County Fair (with mini-ballet), What the Heck Do I Care, An Inspiration (That Lucky Star), The Letter, New York The Town of Your Dreams, Music and Words, Bad Ain't So Bad (a 1920s flapper number), O Baby You Treat Me Too Rough (a Charleston type trio and women's chorus), So Alone Am I, and the touching song Indiana for chorus and separate arrangements for solo voice. Full orchestral score, and orchestral accompaniments sold separately. YouTube Demo playlist at: https://www.youtube.com/playlist?list=PLEcbVsA36MCva9aAwNei4XFxFQdI5Jiio
$19.95
"A Lucky Star" A 1920s Musical, Full Orchestral Score
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Comédie Musicale
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James Nathaniel Holland
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"A Lucky Star" A 192
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.730517 Composed by James Nathaniel Holland. 20th Century,Broadway,Jazz,Musical/Show. Score and parts. 368 pages. Jame...
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Full Orchestra - Level 4 - SKU: A0.730517 Composed by James Nathaniel Holland. 20th Century,Broadway,Jazz,Musical/Show. Score and parts. 368 pages. James Nathaniel Holland #6058827. Published by James Nathaniel Holland (A0.730517). A celebration of the Roaring 20s for the new roaring 2020s. Jazzy choruses, solos, trios and duets, dances and spoken scenes from the Musical A Lucky Star, Full Orchestral Score (in concert pitch with dialogues and stage directions) with measure numbers that align to the piano vocal score and individual parts by American composer James Nathaniel Holland (book, music and lyrics). The story follows a young man as he dreams of moving from the Midwest to New York City in the year 1924. Songs included are: I Ain't Doin' Homework, This Town, Such is the County Fair (with mini-ballet), What the Heck Do I Care, An Inspiration (That Lucky Star), The Letter, New York The Town of Your Dreams, Music and Words, Bad Ain't So Bad (a 1920s flapper number), O Baby You Treat Me Too Rough (a Charleston type trio and women's chorus), So Alone Am I, and the touching song Indiana for chorus and separate arrangements for solo voice. Full orchestral score, and orchestral accompaniments sold separately. YouTube Demo playlist at: https://www.youtube.com/playlist?list=PLEcbVsA36MCva9aAwNei4XFxFQdI5Jiio.
$32.50
Overture to "A Lucky Star" A 1920s Musical, Full Orchestra Score and Individual Parts
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Orchestre de chambre
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INTERMÉDIAIRE
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James Nathaniel Holland
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Overture to "A Lucky Star
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James Nathaniel Holland
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and p...
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Chamber Orchestra - Level 3 - SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and parts. 74 pages. James Nathaniel Holland #5955675. Published by James Nathaniel Holland (A0.730508). Overture to American composer James Nathaniel Holland's early 1920s-styled musical A Lucky Star. The story about coming to terms with where you're from while attaining your dreams. Featured are 4 popular songs: A Lucky Star; O Baby, You Treat Me Too Rough; New York The City, The Town of Your Dreams; and Indiana. Perfect for period 20s jazz concert or opening to pops orchestra concert. Full score in concert pitch and individual instrument parts included. Instr: picc, fl12, ob12, cl12, bsn, hrn12, tpt, trmb, timp, drum set, piano (w/opt. banjo), strings. Duration: 8:28.
$15.95
Treat Me Rough
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Piano, Voix et Guitare
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Comédie Musicale
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Ira Gershwin, George Gershwin,
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Musical/Show
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Treat Me Rough
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Ira Gershwin, George Gershwin, and Joe DiPietro. Broadway; Musical/Show. Piano/Vocal/Guitar (chords only). 5 pages. Published by Hal Leonard - Digital Sheet ...
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By Ira Gershwin, George Gershwin, and Joe DiPietro. Broadway; Musical/Show. Piano/Vocal/Guitar (chords only). 5 pages. Published by Hal Leonard - Digital Sheet Music (HX.284650). - Piano/Vocal/Guitar (chords only) - Broadway; Musical/Show - Hal Leonard - Digital Sheet Music
$4.99
Treat Me Rough
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Ligne De Mélodie, (Paroles) et Accords
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George Gershwin
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Treat Me Rough
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By George Gershwin (1898-1937) and Ira Gershwin. For Lead Sheet. Standard. 2 pages. Published by Alfred Music - Digital Sheet Music ...
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By George Gershwin (1898-1937) and Ira Gershwin. For Lead Sheet. Standard. 2 pages. Published by Alfred Music - Digital Sheet Music
$1.99
Treat Me Rough
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Piano, Voix et Guitare
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George Gershwin
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Treat Me Rough
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By George Gershwin (1898-1937) and Ira Gershwin. For Piano/Vocal/Chords. Broadway and Broadway. 3 pages. Published by Alfred Music - Digital Sheet Music ...
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By George Gershwin (1898-1937) and Ira Gershwin. For Piano/Vocal/Chords. Broadway and Broadway. 3 pages. Published by Alfred Music - Digital Sheet Music
$3.99
Cape Breton and Prince Edward Island Fiddle Tunes for Clawhammer Banjo 136 Note-for-Note Authentic Banjo Arrangements in Clear Tablature
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Banjo
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Classique
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Intermediate
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Cape Breton and Prince Edward
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Banjo - Beginning; Intermediate; Advanced - SKU: M0.31054MEB Folk. Old Time. Ebook and online audio. 185 pages. Mel Bay Publications - Digital Sheet Mus...
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Banjo - Beginning; Intermediate; Advanced - SKU: M0.31054MEB Folk. Old Time. Ebook and online audio. 185 pages. Mel Bay Publications - Digital Sheet Music #31054MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31054MEB). ISBN 9781513477107. 8.75X11.75 inches.The island of Cape Breton and its close neighbor, Prince Edward Island in eastern Canada are home to two of the oldest, strongest, and most vibrant fiddling traditions in North America. Cape Breton gave rise to a professional Celtic-based fiddling scene to rival anything coming out of Scotland and Ireland. Prince Edward Island’s traditional fiddlers developed lively, idiosyncratic styles every bit as musically compelling as anything you’ll hear on archival recordings of iconic American old-time fiddlers from the Appalachians. This book features 136 tunes from these two distinct but related fiddling traditions, collected by the author directly from master fiddlers, and arranged note-for-note for clawhammer banjo with as much flavor and nuance as possible. These settings of reels, hornpipes, jigs, marches, strathspeys, airs, and other fiddle tunes are all eminently playable and fully benefit from the author’s half-century of experience playing banjo, arranging for banjo, writing banjo instruction books, and researching fiddle-music traditions. Here’s what you’ll find in this volume. 136 fiddle tunes arranged for clawhammer banjo in clear tablatureOver 40 musical examples and exercisesInstruction on basic and advanced techniquesFingering diagrams and detailed fingering suggestionsA systematic approach to playing up-the-neckA thorough treatment of playing triplets, grace notes, and other characteristic ornaments in clawhammerGuides on how to approach playing various kinds of fiddle tunesA framework for understanding the modes encountered in fiddle musicHistorical notes on the tunes and musical traditionsBiographical information on source fiddlers169 audio illustrations available online Note: Most audio illustrations for the tunes in this book are drawn directly from the author’s CDs, Devil in the Kitchen, Frails and Frolics, Island Boy, and Northern Banjo.
Song List
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Andy Renwick's Ferret
Angus Campbell
Archie Menzies
The Banks Hornpipe
Bear River Jig
Bee's Wing Hornpipe, The
Belfast hornpipe, The
Belfast Jig
Big John McNeil
Bonaparte Crossing The Alps
Bonniest Lass in a' the World, The
Bonny Lass of Fisherrow, The
Bonny Lea Rig, The
Brae Reel, The
Braes of Auchtertyre, The
Brenda Stubbert's Reel
Caber Feidh
Cape Breton Wedding Reel, The
Captain Campbell
Carleton County Breakdown
Carnie's Canter
Chaisson Reel, The
Cheticamp Reel, The
Chorus Jig
Come Under My Plaidie
Compliments To Buddy Macmaster
Cutting Ferns
Darlin' Don't You Meddle Me
Delphine's Reel
Democratic Rage, The
Devil In The Kitchen
Dillon Brown
Dinkie's Reel
Don't Be Teasing
Dr Keith, Aberdeen
Dragger's Reel, The
Drunken piper, The
Dublin Porter
Duke of Gordon's Birthday, The
Durang's Hornpipe
East Neuk of Bear River, The
Emil Gaudet's Reel
Farmer's Daughter, The
Farmer's Reel, The
Fay's Hornpipe
Fermoy Lasses
Fig For A Kiss
Fisher's Hornpipe (F Setting)
Fred Wilson's Hornpipe
Glencoe March
Green Meadow Reel
Haggis, The
Hector's Fancy
Hector's New Dance Hall
High Level Hornpipe, The
Homeward Bound
Honeymoon, The
Inverness Jig
Irishman's Heart To The Ladies
Iron Man, The
Island Boy
Jack Webster's Reel
Jackson's Jig
Jenny Dang The Weaver
JEROME'S FAREWELL TO GIBRALTAR
Jerry Holland's Jig
Joe Kearney's Reel
Joe MacInnis' March
Kenmure's On and Awa', Willie
Killiecrankie
Koehler's Hornpipe
Lad O'beirne's Reel
Lasses of Glenaladale, The
Levantine's Barrel
Light and Airy
Little Donald In The Pigpen
Little Jack's Reel
Londonderry Hornpipe
Lord Gordon
Lord MacDonald's Reel
Macdonald's March Reel
Mackinnon's Rant
Marchioness of Tullibardine, The
Marie ? Pierre
Marquis of Huntly, The
Meeting of Waters, The
Miller o' Drone, The
Miller's Reel
Miramichi Fire, The
Miss Barker's Hornpipe
Miss Georgina Campbell
Miss Gordon
Miss Lyall Strathspey
Miss Maxwell
Mr. Murray
Munlochy Bridge
Munster Lass, The
North Side of the Grampians, The
Northside Tune
Orange and Blue, The
Ottawa Valley Reel
Paddy On The Turnpike
Pigeon On The Gatepost
Plains of Boyle, The
Poppy Leaf, ThePride of the Ball
Prince Edward Island Wedding Reel
Princess Reel
River Bend Jig
Robert Cormack, Aberdeen
Robert Stubbert
Rock Valley Jig
Rose in the Garden, The
Rose of Tennessee, The
Rothiemurchus Rant, The
Royal Circus Jig
Shandon Bells
Shores of Lough Gowna, The
Silver and Gold
Sleepy Maggie
Souris Breakwater
Southern Melody
St Anne's Reel -Original Version
St Anne's Reel -Prince County Version
St Kilda Wedding
Stack Of Barley
Stella's Trip To Kamloops
Stool of Repentance, The
Teviot Bridge
Trip To Windsor
West Point Jig
When I Go Out the Door
Where the North River Flows
Whiskey Jig
Wilfred's Fiddle
You Married My Daughter, and Yet
$24.99
Op. 1, No. 4: Mon âme est près de toi from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 4: Mon âme es
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-28E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-28E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-28E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-28E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Desert Miniatures: Insects
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Robert McClure
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Desert Miniatures: Insects
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Imagine Music - Digital
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SheetMusicPlus
Bassoon trio - SKU: IZ.BCMW162 Composed by Robert McClure. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 44 pages. Imagine Mus...
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Bassoon trio - SKU: IZ.BCMW162 Composed by Robert McClure. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 44 pages. Imagine Music - Digital #BCMW162. Published by Imagine Music - Digital (IZ.BCMW162). 9 x 12 in inches.Desert Miniatures: Insects was commissioned by Trio Sonora: Robert BeDont, Travis Jones, and Martin VonKlompenberg. The piece reflects on my time living in Tucson, AZ and all of the different types of insects that thrive in the Sonoran Desert. Each miniature selects a particular behavior or quality each insect possesses and explores it musically. Separate from the musical depiction of the insects was the central concept quasi-unison and the hyper-instrument. Instead of treating the three parts as individual important and mutually exclusive, the parts work together to form an imaginary instrument capable of polyphonic sound production. Through micro-polyphony and rhythmic irregularity, this hyper-instrument performs quasiunison gestures that resemble columns of sound rather than melodic lines.I. Many Hued GrasshopperI encountered many of these grasshoppers while hiking in the late summer and early fall months. They are brightly colored with purple and red accents against green wings and powerful light-green legs. As I would walk through tall grasses in the mountains, the path would explode with many grasshoppers leaping all around me. These bursts as well as the grasshopper's signature buzzing sound are the focal point of the miniature.II. Cactus BeeThese bees are solitary and live underground. They collect the nectar of cactus flowers. The bassoons combine to create a flurry of activity representing a particular bee going about her daily business of collecting nectar and returning to her subterranean nest.III.Arizona Red Spotted PurpleThese butterflies employ an ingenious evolutionary tactic for survival: mimicry. They look very similar to the Pipevine Swallowtail, a blueish-black butterfly that is noxious for birds to eat. Even more, the caterpillar of the Arizona Red Spotted Purple employs mimicry through resembling bird droppings or other objectionable material. Mimicry is the primary musical device employed in this miniature.IV. Fire AntAnyone who has ever accidentally stepped on a Fire Ant hill knows how painful the stings are. This unfortunately happened to me on my first day as anArizona resident. While each ant is an individual, the workers carry out simple and direct tasks. It was this quasi-unison behavior plus the martial and driving force of survival that informed the musical treatment of this miniature.
$18.00
Rhapsody for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00
Scooby Doo, Where Are You?
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Chorale TTBB
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INTERMÉDIAIRE
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Ben Raleigh and David Monk
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Alex Frank
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Scooby Doo, Where Are You?
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Alex Frank
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.997249 Composed by Ben Raleigh and David Monk. Arranged by Alex Frank. A Cappella. Octavo. 5 pages. Alex Frank #...
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Choral Choir (TTBB) - Level 3 - SKU: A0.997249 Composed by Ben Raleigh and David Monk. Arranged by Alex Frank. A Cappella. Octavo. 5 pages. Alex Frank #5218187. Published by Alex Frank (A0.997249). This arrangement is a unique take on the Scooby Doo theme song, as it is to be sung by just 4 voices together in close harmony in the style of Barbershop, a type of A Capella music. It is designed for an all-male barbershop quartet to sing at competitions, shows, parties, and many other kinds of gatherings. It may be sung by a larger Barbershop chorus, with 4 distinct parts and multiple people on each part, but works best when sung as a quartet. The arrangement is based off of the theme song to a Saturday morning animated cartoon series titled Scooby Doo, Where Are You!, which debuted in 1969 and ran actively until 1976. The premise of the show is a gang of five mystery-solving teenagers and their Great Dane dog, Scooby Doo investigating the various spooky occurrences in the area caused by supernatural creatures that terrorize the people in the area. While the gang is overall very intelligent and adept at finding clues which always leads to success at apprehending any suspects involved, their key to success lies in Scooby-Doo, whom the gang depends on for his waggish nature and the tricks he plays on the monsters or villains. While Scooby Doo is often filled with trepidation at the thought of being near any monsters or haunted houses, he often overcomes that fear when his team needs it the most, especially when his favorite treat is promised for coming through: Scooby Snacks. The theme song seeks to instill this message that the main character comes through when needed most. Contact me for any further questions at frankalexander92@gmail.com.
$12.99
DEVIL'S THRILL
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Piano seul
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Gabrielle Felicita Chen
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DEVIL'S THRILL
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Gabrielle Felicita Chen
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SheetMusicPlus
Piano Solo - SKU: A0.500996 Composed by Gabrielle Felicita Chen. Children,Contest,Festival,Hip-Hop,Holiday,Pop,R & B. Score. 2 pages. Published by Gabri...
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Piano Solo - SKU: A0.500996 Composed by Gabrielle Felicita Chen. Children,Contest,Festival,Hip-Hop,Holiday,Pop,R & B. Score. 2 pages. Published by Gabrielle Felicita Chen (A0.500996). The piece brings out mysteriously creepy melody. It's a playing ahead with simple reading and chords. Melody and harmony are in the piece throughout. Introducing double notes and ornaments are combined. It is most useful for beginning to preparatory pianist, students, and adults learning music. This piece just came out simply by composing the opposite of the angel's voice, and to treat the Halloween occasion tricked me the idea to have a spooky melody through it's subside faded into the night.
$2.99
Pumpkin Spiced: Grande Variation on Tchaikovsky's Arabian Dance (Halloween/Thanksgiving Piano Solo)
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Piano seul
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FACILE
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Halloween
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Peter Ilyich Tchaikovsky
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Amanda Dills
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Pumpkin Spiced: Grande Variati
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Amanda Dills
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.829769 Composed by Peter Ilyich Tchaikovsky. Arranged by Amanda Dills. Christmas,Hanukkah,Holiday,Standards. Score. 2 pag...
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Easy Piano - Level 2 - SKU: A0.829769 Composed by Peter Ilyich Tchaikovsky. Arranged by Amanda Dills. Christmas,Hanukkah,Holiday,Standards. Score. 2 pages. Amanda Dills #6077563. Published by Amanda Dills (A0.829769). It's that time of year again: Pumpkin Spiced Nutcracker Season! ;)This beginning/intermediate piano solo is perfect for virtually any holiday season recital, from Halloween to Christmas! (Or, if you're a coffee lover like me, it's perfect for any season at all!)Inspired by the Arabian (Coffee) Dance from Tchaikovsky's Nutcracker, this charming piano solo has been adapted with a 4/4 time signature and modern feel, while still keeping the ostinato and harmonies of the original work.**View more of my Halloween-themed Arrangements on Sheet Music Plus! Â (Just copy and paste the item number into the Search Box)**Beginning Piano7 Sinister Songs for Easy Piano [Collection] (S0.426087)Easy Piano Solos:- ADDAMS FAMILY THEME (H0.422913-4800)- All Around the Halloween Pyre (S0.423083)- Black Bat, Black Bat (S0.423067)- Oh, I Come From Sleepy Hollow (S0.423009)- Oh, When the Ghouls (S0.426079)- Over the Graveyard and Through the Wood (S0.423055)- RADIOACTIVE (H0.194611-227204)- Spooky (Baby) Shark (S0.885725)- The Spooky, Scary Spider (S0.422885)- Trick or Treat (S0.422997)Intermediate Piano- Tenth Piano Suite [Dr. Who - themed Piano Solos] (S0.26571)Choral:- Facebook Fugue/What Scares You [SAB] (S0.200665)*********************
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THERE IS A SPIRIT for SATB Choir a Capella, Poem by James Nayler (2021 Revision)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Richard St
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THERE IS A SPIRIT for SATB Cho
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Richard St. Clair
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.939724 Composed by Richard St. Clair. 20th Century,A Cappella,Christian,Praise & Worship,Sacred. Octavo. 12 page...
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Choral Choir (SATB) - Level 4 - SKU: A0.939724 Composed by Richard St. Clair. 20th Century,A Cappella,Christian,Praise & Worship,Sacred. Octavo. 12 pages. Richard St. Clair #3002395. Published by Richard St. Clair (A0.939724). This choral setting of Quaker James Nayler's (17th c.) dying statement (c. 1660) is a profoundly spiritual outpouring. Duration: 5 minutes. Lyrics: There Is a SpiritThere is a spirit which I feel that delights to do no evil, nor to revenge any wrong, but delights to endure all things, in hope to enjoy its own in the end. Its hope is to outlive all wrath and contention, and to weary out all exaltation and cruelty, or whatever is of a nature contrary to itself. It sees to the end of all temptations. As it bears no evil in itself, so it conceives none in thoughts to any other. If it be betrayed it bears it for its ground and spring is the mercies and forgiveness of God. Its crown is meekness, its life is everlasting love unfeigned; it takes its kingdom with entreaty and not with contention, and keeps it with lowliness of mind. In God alone it can rejoice though none else regard it or can own its life. It's conceived in sorrow, and brought forth without any to pity it, nor doth it murmur at grief and oppression. When I was weak thou staydest me with thy hand that in thy hand, that in thy time thou mightst present me to the world in thy strength in which I stand, and cannot be moved. Praise the Lord, O my soul.
$4.50
La Fee Verte Bagpipe Concerto
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Christine Southworth
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La Fee Verte Bagpipe Concerto
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Airplane Ears Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1013047 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 73 pages. Airplane Ear...
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Chamber Orchestra - Level 4 - SKU: A0.1013047 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 73 pages. Airplane Ears Music #5802055. Published by Airplane Ears Music (A0.1013047). La Fee Verte (2013, 12 minutes) for chamber orchestra and Galician gaitasI first became obsessed with bagpipes when my grandfather, Boston Police Lieutenant David Moran, passed away. I was 14 years old, and at his funeral police pipers played, just before the rifles were fired. I was overwhelmed by the power of the instrument, of course compounded by my own sadness and emotion. Years later, a good friend died and another friend wrote him a requiem performed by 12 bagpipes, and after being in denial about his death the power of the sound again made be burst in to tears. Then I was out a Tanglewood at a Silk Road retreat and Osvaldo Golijov had brought a friend, Cristina Pato, to demonstrate her instrument, the Galician Gaita. I was blown away, for the first time the power of the instrument hit me with pure joy, I had never heard bagpipe played like this and by a woman, it was just spectacular! I immediately found a bagpipe teacher in Boston, and started learning Highland pipes, and a few years later, in 2010, went to Galicia and began studying the Gaita. This piece is dedicated to two great gaita players, Cristina Pato and my teacher Anton DaVila. La Fée Verte was commissioned by The Silk Road Project.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes. Website: www.kotekan.com
$30.00
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
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Gangsta's Paradise
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Basse electrique
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INTERMÉDIAIRE
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Coolio Featuring L
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Daniel Roberts
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Gangsta's Paradise
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Daniel P Roberts
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SheetMusicPlus
Bass Guitar - Level 3 - SKU: A0.1113598 By Coolio Featuring L.V. By Artis Ivey, Doug Rasheed, Larry Sanders, and Stevie Wonder. Arranged by Daniel Rober...
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Bass Guitar - Level 3 - SKU: A0.1113598 By Coolio Featuring L.V. By Artis Ivey, Doug Rasheed, Larry Sanders, and Stevie Wonder. Arranged by Daniel Roberts. 20th Century,Film/TV,Hip-Hop,Instructional,R & B. Score. 2 pages. Daniel P Roberts #715501. Published by Daniel P Roberts (A0.1113598). Bass line of Synth Bass arranged for 5-string Bass with TAB. Use octave pedal. As I walk through the valley of the shadow of death I take a look at my life and realize there's not much left 'Cause I've been blastin' and laughin' so long, that Even my mama thinks that my mind is gone But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you're talkin', and where you're walkin' Or you and your homies might be lined in chalk I really hate to trip but I gotta loc As they croak, I see myself in the pistol smoke, fool I'm the kinda G the little homies wanna be like On my knees in the night, sayin' prayers in the streetlight Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Look at the situation they got me facin' I can't live a normal life, I was raised by the street So I gotta be down with the hood team Too much television watchin' got me chasin' dreams I'm an educated fool with money on my mind Got my ten in my hand and a gleam in my eye I'm a loc'd out gangsta set trippin' banger And my homies is down so don't arouse my anger, fool Death ain't nothin' but a heartbeat away I'm livin' life, do or die, what can I say I'm 23 now, but will I live to see 24? The way things is going, I don't know Tell me why are we, so blind to see That the ones we hurt, are you and me? Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Power and the money, money and the power Minute after minute, hour after hour Everybody's runnin', but half of them ain't lookin' It's goin' on in the kitchen, but I don't know what's cookin' They say I gotta learn, but nobody's here to teach me If they can't understand it, how can they reach me I guess they can't, I guess they won't I guess they front, that's why I know my life is out of luck, fool Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Tell me why are we, so blind to see That the ones we hurt, are you and me? Tell me why are we, so blind to see That the ones we hurt, are you and me?
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