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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Who Built the Ark?
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THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS A
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.876417 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.876417 Composed by Johann Sebastian Bach. Arranged by Joe Procopio. Baroque,Jazz. Score and parts. 42 pages. JoeCopio Music LLC #2032001. Published by JoeCopio Music LLC (A0.876417). THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS Arr. By Joe Procopio These arrangements by Joe Procopio from J.S. Bach’s Flute/Violin Sonata II in Eb are special in many ways. Firstly, it fills the need for the very best in music combining the genres of both Classical and Jazz. In addition, it is also importantly unique because it may be performed by a variety of musicians. For example, the arrangement in C may be performed by 2 or more C Instruments including Flute, Piccolo, Oboe and Violin with a small band accompaniment (Piano, Guitar, Bass, and Drums - Guitar is optional). The work may also be performed with just the Piano and/or Guitar for accompaniment. What’s more, the Rhythm Track Accompaniment is available without the solo instruments adding to the already many attributes of this music that enhance its inherent genuine global appeal. This is critical because teachers, students and musicians worldwide are constantly seeking music of the highest quality that can be skillfully presented to the public while having, at the same time, built-in qualities both pleasing to the listener and the performer alike. Bach’s melodies have certainly stood the test of time and Jazz is without question internationally popular. That makes these arrangements truly worthy of attention from people, artists and publishers throughout the world. The composer personally has had great success with this work in many major concerts including its premier performance using a Flute Choir at a Civic Center Concert held in Syracuse, NY before several thousand people who triumphed the young musicians with a standing ovation. The melody by J.S. Bach used in this work is taken from the Bach-Gesellschaft Ausgabe Band 9 and 1 Kammermusik BWV 1031- known as the complete works of Johann Sebastian Bach which was published in 46 volumes from 1851-1899. A single volume was issued in 1926. The last surviving editor of the series died in 1928, and these volumes are now public domain worldwide. They are also held in acclaim because there are no articulation or expression marks in the Gesellshaft. Therefore, the articulation and expression marks written in these arrangements by the arranger are suggestions only. Musicians may perform the works in any manner best suited to the betterment of their own performance.
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Ensemble Jazz
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Joe Procopio These arrangements by Joe Procopio from J
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Johann Sebastian Bach
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Joe Procopio
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THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS A
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JoeCopio Music LLC
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SheetMusicPlus
Aardvarks on the Ark (Or How Did Noah Stand It?)
Chorale 2 parties
Choir Sacred (2-Part choir) - Grade 1 - Digital Download SKU: JX.00-6891 Incorpo…
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Choir Sacred (2-Part choir) - Grade 1 - Digital Download SKU: JX.00-6891 Incorporating Who Built the Ark?. Arranged by Mary Val Marsh. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred Church Choral Series. Children; Sacred; Spiritual. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-6891. Published by Jubilate Music Group - Digital (JX.00-6891). English. Genesis 6, Genesis 7, Genesis 8.A delightful partner song incorporating the traditional spiritual Who Built the Ark? Animated speech song and improvised animal sounds add to the charm. Your choir will LOVE Alan Billingsley's adorable orchestrated performance / accompaniment track. Opt. percussion included in the score. Great fun for school spring concerts and worship throughout the year.
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Chorale 2 parties
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Mary Val Marsh
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Choral Octavo
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Aardvarks on the Ark
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Jubilate Music Group - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Bell Tree Descants-Digital Download
45 Selections to Enhance Hymn Singing For each of these 45 descants to familiar hymns ther…
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45 Selections to Enhance Hymn Singing For each of these 45 descants to familiar hymns there is an intermediate and a more advanced setting for bell tree ringers. Many of the tunes are offered in more than one key to make this collection compatible with most hymnals. Common title and tune indexes are provided for easy reference. Adding the sparkle of bells is sure to enhance and enliven your congregational hymn singing
Song List: O Come, All Ye Faithful Joy to the World Let All Things Now Living Blessed Assurance The Church's One Foundation (D & Eb) Glorious Things of Thee Are Spoken Come and Find the Quiet Center Love Divine, All Loves Excelling (A & Bb) All Hail the Power of Jesus' Name Lift High the Cross Fairest Lord Jesus God of Grace and God of Glory Rejoice, the Lord is King! (C & D) For the Beauty of the Earth Jesus Shall Reign (D & Eb) Christ the Lord Is Risen Today A Mighty Fortress Is Our God Hosanna, Loud Hosanna (A, Ab & Bb) Great Is Thy Faithfulness Be Still My Soul (Eb & F) I Sing the Mighty Power of God My Jesus, I Love Thee When I Survey the Wondrous Cross He Leadeth Me (C & D) God, Who Stretched the Spangled Heavens Joyful, Joyful, We Adore Thee Come, Thou Almighty King (F & G) To Mock Your Reign We Gather Together (C & D) Lead On, O King Eternal (C & Db) Praise to the Lord, the Almighty O Worship the King Come, Christians, Join to Sing (A & G) Eternal Father, Strong to Save Come, Thou Fount of Every Blessing (D & Eb) Holy, Holy, Holy Praise God from Whom All Blessings Flow Be Thou My Vision All Glory, Laud and Honor My Hope Is Built on Nothing Less To God Be the Glory (Ab & G) Lift Up Your Heads, O Mighty Gates (C & D) It Is Well with My Soul (C & Db) What Wondrous Love Is This Just As I Am (D & Db)
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Bell Tree Descants-Digital Download
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SheetMusicPlus
"The Sea of Sunset" - for Soprano, Trombone, Double Bass and Piano [Performance Score]
Small Ensemble Double Bass,High Voice,Piano,Trombone - Level 4 - Digital Download SKU: …
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Small Ensemble Double Bass,High Voice,Piano,Trombone - Level 4 - Digital Download SKU: A0.976037 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 18 pages. Lior Navok Music #4719307. Published by Lior Navok Music (A0.976037). THE SEA OF SUNSETfor Soprano, Trombone, Double Bass and Piano (1997) DURATION: 8 Minutes POEM BY: Emily Dickinson PROGRAM NOTES: The composer writes about his work: The poems of Emily Dickinson are very unique work of art. Most of her poems are full with detailed descriptions, transferring the poems to a medium of picture, carefully painted and calculated. Yet, it is quiet amazing that these poems came from the hand of a woman who lived secluded life, in her hometown Amherst, Massachusetts. A clue may be finds in one of Dickinson's saying: To shut our eyes is to travel. As I approached Dickinson's poems (which are close to 2000), I found that most of them, even the short ones, are built into a large space. Each poem needs its development time and cannot be rushed or squeezed to a regular song form. In The Sea of Sunset, I have let the words, the nature description, and the lazy mood of the poem take me to the picture medium. Adding the murmur of the sea, and the whisper of the wind, I tried to get as close as possible to the picture I saw through the poem. INFO: Item: Full Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 18 Ink: Black & White Paper Size: Folio (Europe) / Legal (USA) Remarks: All performers read from score.
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16.53 €
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Lior Navok
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"The Sea of Sunset" - for Soprano, Trombone, Double Bass and Piano [Performance Score]
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Lior Navok Music
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SheetMusicPlus
Portals of Catedral de Orihuela.
Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - Digital Download SK…
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Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - Digital Download SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Score and parts. 72 pages. Anthony Costandius Music #14899. Published by Anthony Costandius Music (A0.938331). A piece for solo Alto Saxophone and String Orchestra. The church was made a cathedral in 1564 when the city was granted its bishopric. The cathedral was built on the site of the Aljama Mosque in the first third of the 14th century. The name of this structure, El Salvador Cathedral, literally means the Cathedral of the Transfiguration. The cathedral has three portals: the Puerta de las Cardenas (Portal of the Chains, 14th century) is in Islamic style, the Puerta de Loreto (mid-15th century) is Gothic, and Puerta de la Anunciación (Portal of the Annunciation, built in 1588 by Juan Inglés), which has a Renaissance-style triumphal arch-shape. Part 1: Introitis. The saxophone mimics a chant based on the metre of the Introitis: Rorate, caeli, desuper, et nubes pluant iustum: aperiatur terra, et germinet Salvatorem (Bedew us, heavens, from above; ye clouds, rain down the Just One. Let the earth be opened up, and produce the Saviour. The intervals 1 (tonic), 5 (dominant), 6 (super-dominant) and 4 (subdominant), based on the year 1564 referred to in the section above, are used as the basis for the harmony progression for the string section. Part 2: Puerta de las Cardenas Acts 12:3–19 says that Peter was put into prison by King Herod, but the night before his trial an angel appeared to him, and told him to leave. Peter's chains fell off, and he followed the angel out of prison, thinking it was a vision (verse 9). The prison doors opened of their own accord, and the angel led Peter into the city. The visit from the angel, release from the chains and the prison, as well as the journey into the city is expressed against the background of the Islamic design of the portal, hence the referral to Arabian rhythms and scales in the music. Part 3: Puerta de Loreto The Puerta de Loreto is of gothic design. Loreto refers to the Italian city of Loreto in the province of Ancona. It is said that the holy house where the Mother Mary lived in Nazareth was translated miraculously to Loreto on December 19, 1294 - more than 700 years ago. The house did not go straight to Loreto, but in the year 1291 it was miraculously transported from Nazareth to the town of Tersatto in Dalmatia (Croatia). The local population, filled with astonishment, did not know how to explain its sudden appearance. Their Bishop, who was gravely ill, now appeared in their midst cured. He had prayed to the Virgin Mary that he might be strong enough to see the prodigy for himself, and the Mother of God appeared to him, surrounded by Angels, saying: My son, you have called for me, and here I am. I came to give you succor and to reveal to you the mystery [of the translation of the Holy House] you desire to know. The holy dwelling is the very house where I was born and raised. It was there that I received the good news brought by the Archangel Gabriel and I conceived the Divine Infant by the operation of the Holy Ghost. It was there that the Word was made flesh... For you to bear witness to all that I am telling you now, you will suddenly be cured and return to full health after the long illness you have borne, so that through you all will believe in this miracle. Part 4: Puerta de la Anunciación The Annunciation is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning Saviour. Part 5: Exit The work ends with a re-interpretation of the first section, the Introitis. This is to bind the work together, but also to again reflect on the text, as stated: Rorate, caeli, desuper, et nubes pluant iustum: a periatur terra, et germinet Salvatorem, and to comtemplate how that gives meaning to the being, essence and history of the Catedral de Orihuela.
$10.00
9.18 €
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Dr Anthony Costandius
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Portals of Catedral de Orihuela.
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Anthony Costandius Music
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SheetMusicPlus
Sonata #5 in B-flat minor
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.976507 Composed by James Domine. 20…
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Piano Solo - Level 5 - Digital Download SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2081747. Published by Earth Music, Ltd. (A0.976507). This sonata is a solo transcription of the first movement of Domine’s Piano Concerto #1 in B-flat minor. The sonata begins with a slow introduction that juxtaposes two opposite harmonic realms represented by the interval of a diminished fifth. As the opening sequence drifts aimlessly through a cloud of amorphous sonorities, the principal theme is suddenly and aggressively thrust center stage by an angry theme marked Agitato. This theme wends its torturous way to the contrastingly quiet subordinate theme. An episode of melancholic discourse ensues, creating an air of confidential intimacy. The exposition ends with an elided dominant cadence which is left unresolved and that leads directly to the development section. Chord clusters built on hexachords provide a serialized variation on the principal theme. This tripartite antiphonal sequence works toward a culmination as the theme is expanded in rhythmic layers, finally reaching a cacophonic explosion. A retransition based on the slow introduction leads to the recapitulation, this time with alternating variations on the principal theme. After the lyrical restatement of the subordinate theme, the coda confronts us with a starkly bleak musical atmosphere that concludes with a fiery flourish. This transcription was made at the request of piano pedagogue Joanna Ezrin for Vera Weber, who has played it to great acclaim in numerous competitions and recitals.
$8.95
8.22 €
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Piano seul
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James Domine
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Sonata #5 in B-flat minor
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Earth Music, Ltd.
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SheetMusicPlus
Miscellany, 7 Short Movements For Piano Solo
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1314290 By PIano - Sebastian Kurz. …
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Piano Solo - Level 5 - Digital Download SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. Score. 27 pages. Geraldine (Denny) Green at Oakmountmusic #903031. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314290). Written in 2008, Miscellany, 7 short movements for solo piano, was Commissioned by conductor/pianist Anthony Davie.Duration: approx 15 minutes in total.Inspired by friends, family and general life experiences, this set of short pieces encompasses a range of moods; from Romantic and melodic to comical and dissonant.Movement 1. Didi – Didi was a very unique and special friend for many years. She gave out great spiritual strength and insight into this very confusing world in which we all live. She was a real tower of quiet, gentle strength.Movement 2. Brew! – This movement was inspired directly by the Brewing Industry. It strives to depict the hustle and bustle of a busy, working brewery and the the many hilarious, fabulous people I met during my three years in the beer-making industry.Movement 3 – Convent Cherub – This little piece began life as the opening title music of a film score I worked on while at college. The film itself, entitled My Brother Rob, was made by Alison Hilder, a student director at the Harrow School of Film. The story told of a young boy traumatised by a convent boarding school up-bringing. I have felt for many years that this little main theme has needed an alternative home, as much film music is never played again.Movement 4 – Megan – This movement comes directly from my wonderful and beautiful daughter, who was 5 years old at the time of the writing of this piece. It seeks to express her wild vibrance, eternal cheekiness, infinite energy, sparkle and the utter fearlessness of youth.Movement 5 – Edward – This music is for my gorgeous little son, who has Down’s Syndrome, and was only 3 at the time of the writing of this piece. The opening came to me moments after the doctor had confirmed Edward had Down’s, when he was only 6 hours old. The music tries to convey the fear of the unknown, huge unconditional love and moments of uncertainty alternated by washes of strength. And yet, all through the fear the resolve to forever love and stay strong always wins.Movement 6 – Indifference – The opening 4 notes are the core of this movement, and the piece is built around and from them. This music is an observation of deep, rumbling frustration at the indifference growing in our fast moving, modern society.Movement 7 – “Wee Us†– This movement expresses family triumph, the gifts of life and love, and the glory of boundless, wild, youthful energy. This tune has not yet run its course. It will be back!
$12.00
11.02 €
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Piano seul
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PIano - Sebastian Kurz
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Miscellany, 7 Short Movements For Piano Solo
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Geraldine
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SheetMusicPlus
Lux in tenebris (Downloadable)
Chorale SATB
SATB choir (choir divisi) unaccompanied - Medium - Digital Download SKU: MQ.8705-E …
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SATB choir (choir divisi) unaccompanied - Medium - Digital Download SKU: MQ.8705-E Composed by Zebulon M. Highben. Lent, Funeral, Tenebrae. Instrument part. 8 pages. Duration 4 minutes, 30 seconds. E. C. Schirmer Music Company - Digital #8705-E. Published by E. C. Schirmer Music Company - Digital (MQ.8705-E). Latin. John 1:5.The text of Lux in tenebris—a single verse from the prologue to the gospel of John—was chosen in conjunction with the commissioning party, who requested a sacred text with universal appeal that could address the hopes and fears that all people share. The composition elaborates on the text's juxtaposition between the darkness of despair and the light of hope. Dissonant, layered ostinati built on fragments of the text illustrate the omnipresent darkness (mm. 1-25). The second half of the piece (m. 29ff.) changes key and meter, employing the entire text to emphasize the persistent shining and eternal triumph of the light. Duration: 4:30Lux in tenebris was premiered in December 2016 by the Chamber Singers of First Community Church (Columbus, Ohio) at the church’s annual Candlelight Christmas concert, and reprised for the Holy Week Tenebrae service in April 2017.
$2.25
2.07 €
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Chorale SATB
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Zebulon M
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Lux in tenebris
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Waterwheel - Full Score and Parts for Woodwind and Harp
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.920240 Comp…
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Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.920240 Composed by James MacConnachie. 20th Century,Contemporary. 24 pages. James MacConnachie #5215477. Published by James MacConnachie (A0.920240). Full Score and Parts for flute, 2 clarinets, bassoon and harp - Score only/ Parts only are also available at sheetmusicplus.com'Waterwheel' is an impressionistic piece principally based on whole tone scales. It is built on a series of leitmotifs, developed from melodic and rhythmic ideas as featured in the opening section. These reappear in different guises throughout the music. The piece follows an arch form – each section is referenced again later on in reverse order, with the ending an exact repeat of the opening five bars - hence the title 'Waterwheel'.The piece itself is reasonably slow, usually taking around 6 minutes to perform at the suggested tempo marking. This makes it appropriate for Intermediate/Advanced Intermediate players, either in a school environment or elsewhere.
$14.99
13.76 €
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Flûte, Hautbois, Clarinette, Basson
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James MacConnachie
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Waterwheel - Full Score and Parts for Woodwind and Harp
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James MacConnachie
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SheetMusicPlus
Waterwheel - Parts for Woodwind and Harp
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.920241 Comp…
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Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.920241 Composed by James MacConnachie. 20th Century,Contemporary. 18 pages. James MacConnachie #5215649. Published by James MacConnachie (A0.920241). Parts only for flute, 2 clarinets, bassoon and harp - Full Score and Parts/ Score only are also available at sheetmusicplus.com'Waterwheel' is an impressionistic piece principally based on whole tone scales. It is built on a series of leitmotifs, developed from melodic and rhythmic ideas as featured in the opening section. These reappear in different guises throughout the music. The piece follows an arch form – each section is referenced again later on in reverse order, with the ending an exact repeat of the opening five bars - hence the title 'Waterwheel'.The piece itself is reasonably slow, usually taking around 6 minutes to perform at the suggested tempo marking. This makes it appropriate for Intermediate/Advanced Intermediate players, either in a school environment or elsewhere.
$5.99
5.5 €
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Flûte, Hautbois, Clarinette, Basson
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James MacConnachie
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Waterwheel - Parts for Woodwind and Harp
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James MacConnachie
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SheetMusicPlus
Waterwheel - Full Score for Woodwind and Harp
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.920238 Comp…
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Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.920238 Composed by James MacConnachie. 20th Century,Contemporary. 7 pages. James MacConnachie #5215455. Published by James MacConnachie (A0.920238). Full Score for flute, 2 clarinets, bassoon and harp - Full Score and Parts/ Parts only are also available at sheetmusicplus.com'Waterwheel' is an impressionistic piece principally based on whole tone scales. It is built on a series of leitmotifs, developed from melodic and rhythmic ideas as featured in the opening section. These reappear in different guises throughout the music. The piece follows an arch form – each section is referenced again later on in reverse order, with the ending an exact repeat of the opening five bars - hence the title 'Waterwheel'.The piece itself is reasonably slow, usually taking around 6 minutes to perform at the suggested tempo marking. This makes it appropriate for Intermediate/Advanced Intermediate players, either in a school environment or elsewhere.
$9.99
9.17 €
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Flûte, Hautbois, Clarinette, Basson
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James MacConnachie
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Waterwheel - Full Score for Woodwind and Harp
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James MacConnachie
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SheetMusicPlus
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