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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Un Dia Baroque
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8
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
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VIOLON
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Un Dia Baroque
Partitions à imprimer
31 partitions trouvées
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26
Thinking Händel for Baroque Horn Quartet
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Alessandro Macrì
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Thinking Händel for Baroq
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Music Macri Editions
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SheetMusicPlus
Brass Ensemble Horn - Level 2 - SKU: A0.931276 Composed by Alessandro Macrì. Baroque,Classical,Concert,Instructional,Standards. Score and parts. 10 p...
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Brass Ensemble Horn - Level 2 - SKU: A0.931276 Composed by Alessandro Macrì. Baroque,Classical,Concert,Instructional,Standards. Score and parts. 10 pages. Music Macri Editions #6082045. Published by Music Macri Editions (A0.931276). Thinking Händel è un tributo al grande compositore Georg Friedrich Händel, coetaneo di Johann Sebastian Bach, che fu tra i più illustri rappresentanti del barocco musicale. Scrisse opere, oratori e musica strumentale, assimilando gli stili del Settecento che fuse in una sintesi personale e unitaria.I primi successiHändel nacque nel 1685 a Halle, in Germania, da una famiglia senza tradizioni musicali. Iniziò da bambino lo studio della musica, dimostrando subito un grande talento come compositore e organista. All'università di Halle intraprese anche studi giuridici. Nel 1703 si stabilì ad Amburgo, dove lavorò come violinista e dove ebbero luogo le prime esecuzioni di sue musiche, tra cui l'opera Almira, regina di Castiglia (1705).Negli anni successivi compì diversi viaggi in Italia, in Germania e a Londra, dove nel 1711 fu rappresentata con grande successo la sua opera Rinaldo. Nonostante sia oggi conosciuto soprattutto per gli oratori e la musica strumentale, ai suoi tempi Händel fu molto apprezzato per le opere teatrali, prevalentemente composte secondo il modello dell'opera seria italiana (forme musicali). Ambientata in epoca classica, di argomento letterario o di ambientazione mitologica, l'opera seria alterna, in lingua italiana, recitativi e arie. I recitativi, con un'intonazione vicina alla lingua parlata, servivano a far procedere l'azione ed erano accompagnati dal cembalo e a volte dall'orchestra. Le arie, con intonazione melodica, avevano la funzione di esprimere gli stati d'animo o 'affetti' dei personaggi e in esse i cantanti mostravano la propria virtuosistica bravura.Al tempo del soggiorno londinese risalgono anche due significative composizioni orchestrali: le tre suite Musica sull'acqua (1715-36), nate per accompagnare le feste sul Tamigi di re Giorgio I, e i Sei concerti grossi op. 3 (1730-34), ispirati al modello del musicista italiano Arcangelo Corelli.La cittadinanza ingleseNel 1719 Händel promosse la fondazione di una società musicale privata, la Royal academy of music, e ne diventò direttore. Nel 1727 ottenne la cittadinanza inglese e per molti anni dominò la scena musicale britannica. Oltre alle circa quaranta opere teatrali, tra cui Giulio Cesare in Egitto (1723), Rodelinda regina de' Longobardi (1725), Ariodante (1734), Alcina (1735), Serse (1737-38), in questi anni scrisse più di venti oratori ‒ composizioni di argomento religioso, per soli, coro e orchestra ‒ in forma drammatica e in lingua inglese (con narrazione, personaggi e dialogo ma senza scena teatrale), per lo più con testi tratti dall'Antico Testamento (tra cui Esther, 1718, Saul e Israele in Egitto, del 1738 entrambi).L'adesione di Händel alla cultura inglese non fu occasionale, ma profondamente sentita: lo dimostrano alcuni lavori vocali e strumentali, come Acis e Galatea (1718, con una seconda versione nel 1732) e l'Ode per il giorno di s. Cecilia (1739), composti su testi di poeti inglesi di grande rilievo come John Dryden e Alexander Pope.Tra la musica strumentale, Händel dedicò in particolare all'organo, di cui era valente esecutore, ben venti concerti con orchestra.Il Messia e le ultime composizioniL'oratorio Messia è uno dei lavori più conosciuti di Händel: eseguito a Dublino nel 1742, fu scritto per una istituzione benefica in soli ventiquattro giorni. Il libretto di Charles Jennens, in inglese, illustra in tre parti i momenti più rilevanti della vita di Cristo con brani delle Sacre Scritture (è l'unico oratorio tratto dal Nuovo Testamento). La prima parte tratta dell'Avvento e del Natale; la seconda della Passione e della Resurrezione, culminante nel celebre Halleluja; la.
$3.00
Un allato messaggier (Contrafactum of Un ferito cavaliero)
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Piano, Voix
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Classique
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Luigi Rossi
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Early Music Scores
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Un allato messaggier
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.1034430 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque. 13 pages. Early Music Scores #639783. Published by ...
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Vocal Solo,Voice - SKU: A0.1034430 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque. 13 pages. Early Music Scores #639783. Published by Early Music Scores (A0.1034430). Voice and continuo: composed by Luigi Rossi (c.1597-1653). From Roma, Biblioteca Casanatense, MS 2479, cc. 5-18v. Edited by Felipe Dias. 13 pages.
$7.99
Si c'est un bien que l'espérance
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Piano, Voix
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Classique
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Joseph Chabanceau de La Barre
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Early Music Scores
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Si c'est un bien que l'esp&eac
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791565 Composed by Joseph Chabanceau de La Barre. Arranged by Early Music Scores. Baroque,Classical. 3 pages. Early Music Sco...
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Vocal Solo,Voice - SKU: A0.791565 Composed by Joseph Chabanceau de La Barre. Arranged by Early Music Scores. Baroque,Classical. 3 pages. Early Music Scores #5292823. Published by Early Music Scores (A0.791565). Voice and continuoComposed by Joseph Chabanceau de La Barre (1633-1678). Baroque period. From Airs à deux parties, avec les seconds couplets en diminution... Publication : Paris : R. Ballard, 1669. Edited by Felipe Dias. 2 pages.
$6.99
Lamento della Regina di Svezia: Un ferito cavaliero
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Piano, Voix
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Classique
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Luigi Rossi
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Early Music Scores
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Lamento della Regina di Svezia
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791804 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque,Classical. 9 pages. Early Music Scores #6572979. Publ...
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Vocal Solo,Voice - SKU: A0.791804 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque,Classical. 9 pages. Early Music Scores #6572979. Published by Early Music Scores (A0.791804). Voice and continuoComposed by Luigi Rossi (1597?-1653). Baroque period. From Cantates italiennes de différents auteurs. Tome I. Edited by Felipe Dias. 9 pages.
$7.99
Io piangea presso d'un rio
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Piano, Voix
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Classique
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Luigi Rossi
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Early Music Scores
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Io piangea presso d'un rio
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791782 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque,Classical. 6 pages. Early Music Scores #6487441. Publ...
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Vocal Solo,Voice - SKU: A0.791782 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque,Classical. 6 pages. Early Music Scores #6487441. Published by Early Music Scores (A0.791782). Voice and continuoComposed by Luigi Rossi (c.1597-1653). Baroque period. From Biblioteca del Conservatorio di musica San Pietro a Majella - 33.4.12a. Edited by Felipe Dias. 6 pages.
$6.99
D'un feu secret je me sens consumer
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Voix seule
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Classique
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Michel Lambert
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Early Music Scores
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D'un feu secret je me sens con
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791597 Composed by Michel Lambert. Arranged by Early Music Scores. Baroque,Classical. 2 pages. Early Music Scores #5330149. P...
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Vocal Solo,Voice - SKU: A0.791597 Composed by Michel Lambert. Arranged by Early Music Scores. Baroque,Classical. 2 pages. Early Music Scores #5330149. Published by Early Music Scores (A0.791597). Twos voices and continuo. Composed by Michel Lambert (1610-1696). Baroque period. From Les Airs de Monsieur Lambert, maistre de la musique de la chambre du roy, gravez par Richer (1669). Edited by Felipe Dias. 3 pages.
$6.99
Quando voglio con un vezzo
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Classique
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Antonio Sartorio
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Early Music Scores
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Quando voglio con un vezzo
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Early Music Scores
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SheetMusicPlus
Basso Continuo,Soprano voice,Violin - SKU: A0.791712 Composed by Antonio Sartorio. Arranged by Early Music Scores. Baroque,Classical,Opera. 2 pages. Ear...
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Basso Continuo,Soprano voice,Violin - SKU: A0.791712 Composed by Antonio Sartorio. Arranged by Early Music Scores. Baroque,Classical,Opera. 2 pages. Early Music Scores #5988367. Published by Early Music Scores (A0.791712). Soprano voice and continuo (and ritornello with two violins)Composed by Antonio Sartorio (1630-1680). From Giulio Cesare in Egitto (1676). Baroque period. Edited by Felipe Dias. 2 pages.
$6.99
Monteverdi - The Fourth Book of Madrigals - 11. A un giro sol de' begl'occhi
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Fourth Book o
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.767227 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 17 pages. Lyons ...
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Brass Ensemble - Level 4 - SKU: A0.767227 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 17 pages. Lyons Music Services #3087409. Published by Lyons Music Services (A0.767227). Monteverdi - The Fourth Book of Madrigals 1603In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his Stile Nuovo. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the I IV V and minor of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.11. A un Giro Sol de' Begl' Occhi – At one glance of good eyesFlexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other transpositions available on request.
$4.99
Un guardo ohimè ch'io moro
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Piano, Voix
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Classique
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Francesco Rasi
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Early Music Scores
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Un guardo ohimè ch'io m
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791666 Composed by Francesco Rasi. Arranged by Early Music Scores. Baroque,Classical. 1 pages. Early Music Scores #5758717. P...
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Vocal Solo,Voice - SKU: A0.791666 Composed by Francesco Rasi. Arranged by Early Music Scores. Baroque,Classical. 1 pages. Early Music Scores #5758717. Published by Early Music Scores (A0.791666). Voice and continuoComposed by Francesco Rasi (1574-1621). From Madrigali di diversi autori, Firenze, 1610. Edited by Felipe Dias. 1 page.
$5.99
Chi consiglia un dubbio core
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Piano, Voix
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Classique
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Luigi Rossi
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Early Music Scores
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Chi consiglia un dubbio core
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791777 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque,Classical. 3 pages. Early Music Scores #6463051. Publ...
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Vocal Solo,Voice - SKU: A0.791777 Composed by Luigi Rossi. Arranged by Early Music Scores. Baroque,Classical. 3 pages. Early Music Scores #6463051. Published by Early Music Scores (A0.791777). Voice and continuoComposed by Luigi Rossi (c.1597-1653). From Col. Frank V. de Bellis Collection (US-SFsc) M2.5 v. 69, f.49v-54r. Edited by Felipe Dias. 3 pages.
$6.99
Un guardo no troppa pietate
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Piano, Voix
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Classique
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Francesco Rasi
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Early Music Scores
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Un guardo no troppa pietate
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791677 Composed by Francesco Rasi. Arranged by Early Music Scores. Baroque,Classical. 1 pages. Early Music Scores #5884945. P...
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Vocal Solo,Voice - SKU: A0.791677 Composed by Francesco Rasi. Arranged by Early Music Scores. Baroque,Classical. 1 pages. Early Music Scores #5884945. Published by Early Music Scores (A0.791677). Voice and continuoComposed by Francesco Rasi (1574-1621). From Madrigali di diversi autori, Firenze, 1610. Edited by Felipe Dias. 1 page.
$6.99
Pour jouir d'un bonheur
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Piano, Voix
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Classique
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Michel Lambert
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Early Music Scores
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Pour jouir d'un bonheur
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791648 Composed by Michel Lambert. Arranged by Early Music Scores. Baroque,Classical. 1 pages. Early Music Scores #5746963. P...
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Vocal Solo,Voice - SKU: A0.791648 Composed by Michel Lambert. Arranged by Early Music Scores. Baroque,Classical. 1 pages. Early Music Scores #5746963. Published by Early Music Scores (A0.791648). Voice and continuoComposed by Michel Lambert (1610-1696) from Airs de Monsieur Lambert non imprimez, c. 1710. Edited by Felipe Dias. 1 page.
$6.99
Un sonno ohimè sì forte
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Voix seule
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Classique
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Marco Marazzoli
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Early Music Scores
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Un sonno ohimè sì
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.1143921 Composed by Marco Marazzoli. Arranged by Early Music Scores. Baroque. 7 pages. Early Music Scores #744230. Published ...
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Vocal Solo,Voice - SKU: A0.1143921 Composed by Marco Marazzoli. Arranged by Early Music Scores. Baroque. 7 pages. Early Music Scores #744230. Published by Early Music Scores (A0.1143921). Voice and continuo: composed by Marco Marazzoli (c.1602-1662). From La Vita Humana (1656). Museo Internazionale e Biblioteca della Musica di Bologna, MS Q.47. Edited by Felipe Dias. 7 pages.
$6.99
Goutons un doux repos
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Voix seule
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Classique
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Jaques Hotteterre/Michel Lambe
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Early Music Scores
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Goutons un doux repos
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791639 Composed by Jaques Hotteterre/Michel Lambert. Arranged by Early Music Scores. Baroque,Classical. 2 pages. Early Music ...
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Vocal Solo,Voice - SKU: A0.791639 Composed by Jaques Hotteterre/Michel Lambert. Arranged by Early Music Scores. Baroque,Classical. 2 pages. Early Music Scores #5745265. Published by Early Music Scores (A0.791639). Voice (or flute) and continuoComposed by Jacques Hotteterre/Michel Lambert. From Airs et brunettes a deux et trois dessus pour les flutes traversieres. c.1721. Edited by Felipe Dias. 2 pages.
$6.99
Fatto è Giove un dio d'inferno
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Classique
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George Frideric Handel
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Early Music Scores
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Fatto è Giove un dio d'
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Early Music Scores
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SheetMusicPlus
SKU: A0.1039929 Composed by George Frideric Handel. Arranged by Early Music Scores. Baroque,Opera. 16 pages. Early Music Scores #644803. Published by Ea...
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SKU: A0.1039929 Composed by George Frideric Handel. Arranged by Early Music Scores. Baroque,Opera. 16 pages. Early Music Scores #644803. Published by Early Music Scores (A0.1039929). Alto voice and strings: composed by Georg Friedrich Händel (1685-1759). From Rinaldo, 1731. Edited by Felipe Dias. 16 pages. Score and parts.
$6.99
Susanne un jour (with divisions by Bassano)
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Voix seule
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Renaissance
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Classique
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Orlande De Lassus
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Early Music Scores
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Susanne un jour
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.1045135 Composed by Orlande De Lassus. Arranged by Early Music Scores. Baroque,Renaissance. 3 pages. Early Music Scores #6497...
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Vocal Solo,Voice - SKU: A0.1045135 Composed by Orlande De Lassus. Arranged by Early Music Scores. Baroque,Renaissance. 3 pages. Early Music Scores #649703. Published by Early Music Scores (A0.1045135). Voice: composed by Orlande de Lassus (1532-1594) /Giovanni Bassano (c.1561-1617). From Mellange d'Orlande de Lassus, Paris, 1570; Motetti, madrigali et canzone francese, Venezia, 1591. Edited by Felipe Dias. 3 pages.
$5.99
Pequeña invención No. 11 Dies Irae ("Día de la ira")
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Piano seul
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AVANCÉ
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Juan Carlos Cortés A
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Pequeña invenció
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Juan Carlos Cortés Aguirre
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.958691 Composed by Juan Carlos Cortés A. 20th Century,Concert,Instructional,Standards,World. Score. 3 pages. Juan Carl...
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Piano Solo - Level 5 - SKU: A0.958691 Composed by Juan Carlos Cortés A. 20th Century,Concert,Instructional,Standards,World. Score. 3 pages. Juan Carlos Cortés Aguirre #5721397. Published by Juan Carlos Cortés Aguirre (A0.958691). Serie de 12 composiciones de carácter libre que no pretenden encajar en el estilo ortodoxo y puro del barroco, sino utilizar estos elementos musicales como simples ejercicios lúdicos para delite de quién lo compuso e inquietud de quién lo estudie. Se reitera siempre en todas las composiciones de esta serie, que: Aunque lo parezca, no se trata de emular al gran Juan Sebastián Bach; más bien, al componer en este estilo se rinde un tributo de eterna gratitud y admiración por la majestuosidad y Perfeccion de su obra, como lo han hecho multitud de músicos en el mundo a través de la historia.Series of 12 free-character compositions that do not intend to fit into the orthodox and pure style of the Baroque, but rather use these musical elements as simple playful exercises to delight those who composed it and the concern of those who study it. It is always reiterated in all the compositions in this series, that: Although it may seem so, it is not about emulating the great Juan Sebastián Bach; rather, when composing in this style a tribute of eternal gratitude and admiration for the majesty and Perfection of his work, as many musicians in the world have done throughout history.
$7.99
CANON IN D MAJOR FOR TWO GUITARS
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EMILIO ANTONUCCI
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EMILIO ANTONUCCI
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CANON IN D MAJOR FOR TWO GUITA
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EMILIO ANTONUCCI
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SheetMusicPlus
Guitar,Instrumental Duet - Level 2 - SKU: A0.1506625 By EMILIO ANTONUCCI. By J. Pachelbel. Arranged by EMILIO ANTONUCCI. Baroque,Classical,Early Music,L...
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Guitar,Instrumental Duet - Level 2 - SKU: A0.1506625 By EMILIO ANTONUCCI. By J. Pachelbel. Arranged by EMILIO ANTONUCCI. Baroque,Classical,Early Music,Lent,Religious. 4 pages. EMILIO ANTONUCCI #1081993. Published by EMILIO ANTONUCCI (A0.1506625). Sebbene Pachelbel fosse un compositore barocco minore rispetto a giganti come Bach o Vivaldi, il Canon in D ha guadagnato enorme popolarità nel XX secolo, diventando parte della cultura popolare. È presente in numerosi film, spot pubblicitari, e ha ispirato arrangiamenti moderni in vari generi musicali.Canon in D Major di Johann Pachelbel è uno dei brani più iconici della musica barocca e viene spesso suonato in occasione di matrimoni e celebrazioni per la sua melodia elegante e serena.Caratteristiche Musicali:Forma: Il Canon in D è scritto in forma di canone, un tipo di composizione in cui una melodia viene ripetuta e imitata in maniera sequenziale da altre voci o strumenti. In questo caso, il brano è suonato da due chitarre: la prima chitarra esegue la melodia principale suonata con il capotasto al settimo tasto; la seconda chitarra esegue l'accompagnamento (senza capotasto).Basso Ostinato: Il brano è costruito su un basso ostinato, cioè una sequenza di otto note che viene ripetuta per tutta la durata del pezzo. Questa ripetizione crea una solida base armonica su cui si sviluppano le variazioni melodiche.Semplicità ed Eleganza: Nonostante la struttura ripetitiva, la progressione delle melodie sopra il basso continuo dà al brano una sensazione di crescendo e variazione, mantenendo l’ascoltatore coinvolto. Le frasi melodiche si arricchiscono e si complicano man mano che il brano prosegue, aggiungendo movimento e dinamismo.Atmosfera: Il Canon in D è conosciuto per la sua atmosfera calma e contemplativa grazie alla fluidità delle melodie che lo rendono perfetto per occasioni che richiedono un sottofondo musicale elegante e tranquillo.
$5.99
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Fricción [2 flutes]
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Contemporain
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Juan MarÃa Solare
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Fricción [2 flutes]
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Juan Maria Solare
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SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.596537 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary. 35 pages. Juan Maria Solare #3867601. ...
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Woodwind Ensemble - Level 4 - SKU: A0.596537 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary. 35 pages. Juan Maria Solare #3867601. Published by Juan Maria Solare (A0.596537). Fricción for two flutes - by Juan MarÃa Solare Fricción (Friction) is a piece for two flutes, of actually for any two instruments of identical (or similar) register. Technically is an invention in the Baroque sense of the term, i.e. a same contrapuntual element reappears at different pitches, and each apparition of this subject is separed by episodes that develop material provenient of the main subject. The material is the friction produced by minor and major seconds. Ten minutes with these sonorities that -contrary to expectations- are not aggressive but rather humorous. In fact, the character indication at the beginning: With the wildness of a cartoon implies a harmless violence: Tom always survives the mischievous tricks of Jerry.The musical language of the work is contemporary classic, or post-tonal. The notation doesn't offer secrets: there are neither fancy notations nor new signs. This work does not require extended techniques either.World premiere: Mariaceli Navarro Salerno & Raúl Pimentel, 2 piccolos. Centro de Acción Social por la Música. Caracas, Venezuela. 27 de junio de 2013. https://www.youtube.com/watch?v=Jli6YxF4ci4 Juan MarÃa Solare Translations of the main indications on the score - Pueden aparecer sonidos diferenciales, particularmente en las notas agudas (es intencional) - Differential sounds may appear, particularly in high notes (it is intentional) - Las alteraciones (#, b) valen sólo para la nota a la que anteceden y sus repeticiones inmediatas. - Alterations (#, b) are valid only for the note to which they precede and their immediate repetitions. - Con el salvajismo de un cartoon - With the savagery / wildness of a cartoon (21) - Observar la diferencia de articulación / agrupamiento: es esencial - Notice the difference in articulation / grouping: it is essential (162) - indicaciones metrómicas aproximadas - approximate metromic indications
$9.00
Sarabande from Suite in D minor by G. F. Händel
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Quatuor de Cuivres
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DÉBUTANT
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G
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Alessandro Macrì
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Sarabande from Suite in D mino
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Music Macri Editions
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.931243 Composed by G. F. Händel. Arranged by Alessandro Macrì. Baroque,Film/TV,Instructional. 21 pa...
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Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.931243 Composed by G. F. Händel. Arranged by Alessandro Macrì. Baroque,Film/TV,Instructional. 21 pages. Music Macri Editions #5751081. Published by Music Macri Editions (A0.931243). La Sarabanda, appartenente alla Suite per clavicembalo in Re minore numero 11 (HWV 437), è uno dei brani musicali più belli e famosi di Georg Friedrich Händel, musicista tedesco tra i più illustri del periodo barocco. Il IV movimento della Suite handeliana fu conosciuto dal grande pubblico quando il compositore statunitense Leonard Rosenman (1924-2008) lo riarrangiò inserendo nell'esecuzione archi e timpani; in tal guisa fu inserito da Stanley Kubrick nel suo capolavoro cinematografico Barry Lyndon (1975). Qui lo si può ascoltare nei momenti più emozionanti e trascinanti, dove assume un ruolo determinante, trasmettendo alle scene un'atmosfera di un fascino incredibile. Probabilmente Händel, quando compose questa indimenticabile melodia (scritta tra il 1703 ed il 1706), s'ispirò ad un'opera strumentale di Arcangelo Corelli: La Follia, ovvero una sonata (con variazioni sull'omonimo tema) inserita quale ultima dell'Op. 12 (1900) del musicista italiano. Per la stesura del brano citato, Corelli aveva preso a sua volta spunto da un tema musicale portoghese di origine popolare, nato tra il XVI ed il XVII secolo.
$9.00
Ires y venires
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Bruno Tapia
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Ires y venires
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Bruno Tapia
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SheetMusicPlus
Flute,Piano - Level 4 - SKU: A0.924602 Composed by Bruno Tapia. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and part. 91 pages. B...
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Flute,Piano - Level 4 - SKU: A0.924602 Composed by Bruno Tapia. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and part. 91 pages. Bruno Tapia #3860097. Published by Bruno Tapia (A0.924602). Versión completa de la colección Ires y venires, que tiene una historia propia. Una colección de seis piezas para piano y flauta.Historia de Ires y venires.1) Flores y pájaros: La princesa, como es costumbre, salió a pasear por los jardines cercanos al castillo. Un dÃa soleado, se le apareció un pequeño pájaro. Mayúscula sorpresa se llevó al enterarse de que ese pájaro era en realidad un dragón cambiaformas. Ella quedó cautivada por él.2) Mariposa del invierno: El dragón se hace humano y se le declara a la princesa. Le dice que la ama. Ella le contesta que lo ama, pero que su mano está prometida, y que su matrimonio traerÃa estabilidad polÃtica al reino. No podÃa corresponder al amor del dragón, pero aún asà estuvieron juntos un rato.3) Vals Bizarre: Tras haber sufrido el frÃo beso de la mariposa del invierno, el dragón habÃa agonizado y visto su muerte. Se logró salvar y recuperarse gracias a su amor por ella. No obstante, ella ya no estaba. El vals Bizarre suena en sus encuentros y desencuentros.4) Tango del diablo: Las tensiones entre ambos son cada vez mayores. Ella ya no puede estar con él, el tiempo la sofoca. Entonces, el dragón y la princesa bailan el apasionado tango del diablo, persiguiéndose con miedo a encontrarse.5) Himno de despedida angelical: El dragón se queda en la montaña, y de repente los ángeles lo encuentran. Los ángeles, como tributo a Dios, pretenden matarlo para que no amenace a la humanidad. Empieza entonces una batalla frenética con los ángeles volando por todos lados, tratando de atacar a un dragón que recibÃa y repartÃa mucho daño. Todos los ángeles murieron tras cantar su himno. El dragón quedó herido de gravedad.6) Marcha fúnebre: La princesa se iba en tren a otra ciudad a casarse. HabÃan pasado meses desde que dejó de ver al dragón. La última vez que vio algo fue meses atrás. Tuvo miedo por él. Por su parte, el dragón no tenÃa fuerzas y estaba muy herido. Se acurrucó y se preparó para dormir. Entrando al sueño, comienza a viajar, a proyectarse y encontrar a su amada princesa. Ella, cabeceando, sintió en su cabeza la voz de su amado dragón. Le contó que estaba herido, y que encontraba que la vida no tenÃa sentido. Que los dragones revivÃan cada cierto tiempo, y que sin ella nada serÃa lo mismo. Ella le cantó a su vez que lo amaba, y que tenÃa que salvarse. Pero el dragón fue claro. DormirÃa cientos de años, y nadie iba a detenerlo.A la distancia, la princesa alcanzó a ver la última llamarada en señal de despedida.
$25.00
10 Solos for Cello: Intermediate Pieces
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Violoncelle
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INTERMÉDIAIRE
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Classique
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Various
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Clara Obsidian
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10 Solos for Cello: Intermedia
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Clara Obsidian
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SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.1351135 Composed by Various. Arranged by Clara Obsidian. 19th Century,20th Century,Baroque,Classical,Romantic Period. Ind...
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Cello Solo - Level 3 - SKU: A0.1351135 Composed by Various. Arranged by Clara Obsidian. 19th Century,20th Century,Baroque,Classical,Romantic Period. Individual part. 19 pages. Clara Obsidian #935974. Published by Clara Obsidian (A0.1351135). Featuring a compilation of 10 unique and popular works from 10 different composers arranged for Cello Solo. It is the perfect collection for lessons, gigs and performances!ContentsFranz Schubert : Ständchen Serenade, D.957, No. 4Georges Bizet: Farandole from L'Arlesienne Suite No.2, IVGabriel Fauré: Après un rêve from Trois mélodies Op. 7 n°1Marin Marais: La Folia Selections from Les Folies d'EspagneCharles Gounod: Meditation on the 1st prelude of J. S. Bach Ave MariaJ. S. Bach: Menuett (Minuet) Suite no.1 in G MajorBernhard Romberg: Allegro Sonata no. 1 in Bb MajorJohann Strauss I: Radetzky March P. I. Tchaikovsky: Theme from Swan Lake Camille Saint-Saëns: Danse Macabre Other Collections also available!---------------------------
$8.99
RONDEAU from Abdelazer by H. Purcell
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Henry Purcell
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Alessandro Macrì
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RONDEAU from Abdelazer by H. P
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Music Macri Editions
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SheetMusicPlus
Brass Ensemble Horn - Level 1 - SKU: A0.931280 Composed by Henry Purcell. Arranged by Alessandro Macrì. Baroque,Concert,Film/TV,Graduation. Score and...
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Brass Ensemble Horn - Level 1 - SKU: A0.931280 Composed by Henry Purcell. Arranged by Alessandro Macrì. Baroque,Concert,Film/TV,Graduation. Score and parts. 10 pages. Music Macri Editions #6359937. Published by Music Macri Editions (A0.931280). Nell’Inghilterra del XVII secolo la musica ha un ruolo importante nel teatro; canzoni e brevi pezzi per orchestra tengono desta l’attenzione del pubblico all’inizio e alla fine delle rappresentazioni e durante il cambio delle scene.Scritte nel 1695, l’anno della sua prematura scomparsa, le musiche di scena per Abdelazer, o La Vendetta del Moro sono l’ultima composizione di Henry Purcell in questo genere. La fosca tragedia di Aphra Behn, portata sulle scene nel 1676 senza musica, viene riproposta nel 1695 alla riapertura del Drury Lane Theatre. La vicenda di Abdelazer, principe moresco che per vendicare l’assassinio del padre cerca subdolamente di usurpare il trono di Spagna attraverso l’affetto della regina spagnola, viene introdotta da una solenne Ouverture in tonalità minore che ne evidenzia la drammaticità . La tragedia suscita pochi entusiasmi tra il pubblico che, peraltro, apprezza moltissimo le musiche di Purcell e soprattutto la canzone finale Lucinda is bewitching fair, affidata al cantante tredicenne Jemmy Bowen, che viene pubblicata immediatamente come Aria a sé stante; le musiche poi verranno pubblicate postume nel 1697 come suite per archi e basso continuo nella quale l’ordine dei movimenti è differente da quella adottata per l’esecuzione teatrale.La suite è formata da Ouverture, Rondeau, Air I & II, Minuetto, Air, Giga, Hornpipe, Air. Il Minuetto è un pezzo di particolare eleganza, ma è il Rondeau che ha assicurato alla suite fama duratura; questo movimento è alla base della celebre composizione di Benjamin Britten Guida all’orchestra per i giovani, Variazioni e fuga su un tema di Henry Purcell. Il Rondeau, poi, è stato utilizzato come tema per la serie TV della BBC del 1969 The First Churchills e come sottofondo musicale per gioco Intellivision Thunder Castle del 1986; lo troviamo anche nel film di Joe Wright Orgoglio e pregiudizio, eseguito durante il ballo a Netherfield.
$7.00
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