Page d'accueil
Parcourir Free-scores.com
--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
Why Did I Fall For That
Non classifié
1
Piano & claviers
Piano seul
2
Piano, Voix
1
Guitares
Guitare notes et tablatures
2
Voix
Chorale TTBB
1
Chorale SATB
1
Vents
Clarinette et Piano
1
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trompette, Trombone (duo)
1
Cordes
Violon, Violoncelle (duo)
1
Orchestre & Percussions
Orchestre d'harmonie
1
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
12
Partitions Numériques
13
Librairie Musicale
213
Matériel de Musique
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Why Did I Fall For That
Partitions à imprimer
13 partitions trouvées
<
1
Why Did I Fall For That
#
Guitare notes et tablatures
#
Rock
#
The Who
#
Why Did I Fall For That
#
Hal Leonard - Digital
#
SheetMusicPlus
SKU: HX.325697 By The Who. Pop,Rock. Guitar TAB. 4 pages. Published by Hal Leonard - Digital (HX.325697). ...
(+)
SKU: HX.325697 By The Who. Pop,Rock. Guitar TAB. 4 pages. Published by Hal Leonard - Digital (HX.325697).
$4.99
The Who: Why Did I Fall For That - guitar (tablature)
#
Guitare notes et tablatures
#
INTERMÉDIAIRE
#
Rock
#
The Who
#
Virtualsheetmusic
Instantly printable sheet music by The Who for guitar (tablature) of MEDIUM skill level. / pop,rock
Instantly printable sheet music by The Who for guitar (tablature) of MEDIUM skill level. / pop,rock
$6.97
The Story Of Reuben Clamzo & His Strange Daughter
#
Chorale TTBB
#
FACILE
#
Arlo Guthrie
#
Craig Hanson
#
The Story Of Reuben Clamzo &am
#
Edition Craig Hanson
#
SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
(+)
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Agent Provocateur: Sonatina for Clarinet and Piano
#
Clarinette et Piano
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Joyce
#
Agent Provocateur: Sonatina fo
#
Brian Joyce
#
SheetMusicPlus
Clarinet,Piano - Level 4 - SKU: A0.836709 Composed by Brian Joyce. Contemporary. Score and part. 27 pages. Brian Joyce #3074129. Published by Brian Joyc...
(+)
Clarinet,Piano - Level 4 - SKU: A0.836709 Composed by Brian Joyce. Contemporary. Score and part. 27 pages. Brian Joyce #3074129. Published by Brian Joyce (A0.836709). A piece shrouded in mystery and intrigue. For myself, I mean: I don’t even know what the title means, nor why this particular piece should wear it. The music and the title came as a package deal, falling on me out of the blue one day. It wasn’t on my to-do list, nor was I looking for extra work. But perhaps that’s the answer: the piece itself is the Agent, breaking into my nicely ordered studio and disrupting things for the next few months. I’ll have to think about this some more.But I digress. Whatever its meaning or provenance, it’s an odd little sonatina. For instance, at its heart the second movement is a traditional scherzo and trio, but it is as misshapen as anything H. P. Lovecraft himself might have envisioned. Even I am not sure where the beginnings and endings of the sections are without a score in hand. Mystery upon mystery. Another example: as I began to work on the third movement, I wasn’t sure if it would be a simple binary or ternary form, a rondo or a sonata-allegro. I never did find out, to be honest. All I know is that, to my ears, it sounds like what might have resulted if I had been asked to write the theme to The Simpsons. The audio sample will give you some idea of what I mean.More questions than answers.Performance time is a little under 14 minutes.
$10.95
I Sit Here on the Barren Hill
#
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
#
INTERMÉDIAIRE
#
Fiona Alice Hickie
#
Fiona Alice Hickie
#
I Sit Here on the Barren Hill
#
Fiona Alice Hickie
#
SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st ...
(+)
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Century,Chamber,Classical,Latin. 17 pages. Fiona Alice Hickie #1001228. Published by Fiona Alice Hickie (A0.1419806). A piece for brass quintet based on the poem by the same name. It is a slow piece is a South American style.Based on the poem: Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives. Dedicated to Ben van den Akker.
$13.99
I Sit Here On The Barren Hill
#
Piano, Voix
#
FACILE
#
Fiona Hickie
#
#
I Sit Here On The Barren Hill
#
Fiona Alice Hickie
#
SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.738138 Composed by Fiona Hickie. Contemporary,Standards. Score. 7 pages. Fiona Alice Hickie #4853343. Published by...
(+)
Piano,Vocal,Voice - Level 2 - SKU: A0.738138 Composed by Fiona Hickie. Contemporary,Standards. Score. 7 pages. Fiona Alice Hickie #4853343. Published by Fiona Alice Hickie (A0.738138). A song about loss of love and the devastation it causes to our lives. Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives.
$4.99
Paisley's Sonata
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Michael C
#
Paisley's Sonata
#
Michael C. Brown
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by...
(+)
Piano Solo - Level 4 - SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........
$4.99
Duo for Violin and Cello
#
Violon, Violoncelle (duo)
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
far the worst season and espec
#
Patrick Prejean
#
Duo for Violin and Cello
#
Patrick Prejean
#
SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Violin - Level 4 - SKU: A0.1172250 Composed by Patrick Prejean. Classical,Contemporary. Score and parts. 30 pa...
(+)
Instrumental Duet Cello,Instrumental Duet,Violin - Level 4 - SKU: A0.1172250 Composed by Patrick Prejean. Classical,Contemporary. Score and parts. 30 pages. Patrick Prejean #772433. Published by Patrick Prejean (A0.1172250). Written for City Six Strings.This duet is for the founders of City Six Strings. I chose the title due to place I live and how I've been acclimated to each season. I - With boisterous character and despite all the rain, when spring comes it brings with it all the flowers and butterflies that can be seen.II - There is a reason why most good events happen during the summer with warm weather and no academia to worry about it is often the most productive time of the year.III - Depending on where you fall on the fall vs autumn label, this season brings sweater weather and all of the holidays people most enjoy. Whether it's loads of candy or a massive feast, fall/autumn always has something to provideIV - By far the worst season and especially after this year, I can say nothing good about it. I didn't title it simply winter but rather for the biting cold that grips my bones.
$30.00
Clair de Lune (with piano fingering as needed)
#
Piano seul
#
INTERMÉDIAIRE
#
Classique
#
Claude Debussy
#
Scott Camp
#
Clair de Lune
#
Scott Camp
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.553098 Composed by Claude Debussy. Arranged by Scott Camp. 20th Century,Concert,Graduation,Standards,Wedding. Score. 13 p...
(+)
Piano Solo - Level 3 - SKU: A0.553098 Composed by Claude Debussy. Arranged by Scott Camp. 20th Century,Concert,Graduation,Standards,Wedding. Score. 13 pages. Scott Camp #3909193. Published by Scott Camp (A0.553098). Possibly the most beautiful piece of music ever.This edition presents Debussy's masterpiece with as close to 100% clarity as possible: no arrangement, no simplification, no abridgement, only solutions to the challenges of how to play this amazing masterpiece. In my experience, I would guess that Clair de lune has been the final, unfulfilled and unattained goal of piano students more than any other piece in music history.If you recognize the truth in this statement, you owe it to yourself to investigate this edition, in which for the first time, all of the technical challenges are clearly identified with their solutions. Playing a piece of music is not the same as mastering it. Surviving a performance is not the same as playing with confidence. There is no joy in being vulnerable to embarrassing mistakes. It is no way to live. You deserve a set of instructions (this edition) that enables you to master your performance, play with confidence and beauty, not an edition which blocks your access.Clair de Lune is so familiar that it is hard to appreciate just how revolutionary it (and Debussy) are. The word revolutionary is overused, so we fail to realize that Clair de Lune is difficult to play largely because it was difficult to notate. If the faculty of the Paris Conservatory didn't understand or appreciate Debussy, why would we expect the staff of a publishing company (as competent as they were) to understand the demands of his music. Debussy broke the boundaries of conventional piano notation. That means contradictions and ambiguity, which must be addressed.A note about fingering: where and why it is or is not presented. I've done my best to prepare an edition of this music that will enable the Intermediate Classical pianist to prepare and perform this masterpiece. My goal is to include information that the pianist needs, but does not already know. For Claire de Lune, some passages are dependent upon specific hand/fingering solutions, while other passages are either (1) equally playable with different fingering, or (2) only playable by what essentially becomes known as a self-evident solution. For example, m9-24, and m61-62, fall into this category. Octaves can only practically be played with fingers 1 and 5. I provide a lot of finger numbers, but that is not the same as creating an edition that can be played without significant staff reading. The premise is that an intermediate musician should have access to advanced material--that is a musician is motivated to play pieces one level more advanced. Attempting to bridge more than one level is not my goal.
$1.99
Everlong
#
Foo Fighters
#
Brian Streckfus
#
Everlong
#
Brian Streckfus
#
SheetMusicPlus
Guitar - Level 2 - SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian St...
(+)
Guitar - Level 2 - SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian Streckfus #1063740. Published by Brian Streckfus (A0.1486675). Key: B minorPages: 2The aim of this version was not historical accuracy. The aim was to create a great solo unplugged coffee-house version with no page turns, though it could still be really useful for any situation. The melody is left intact, some liberties with the harmonies were taken when there is singing. I'm very proud and happy with how it turned out, sometimes you get lucky and the sections fall perfectly into place (which is suprising since there are some odd 3 measure phrases in here). Features:1. Beginner friendly. The chords are so accurate to what the sheet music is doing, that you don't even really need to read sheet music to play this!2. Harmonies that take difficulty, style, voice leading, and melody into consideration3. Condensed lead sheet version that fits on 2 pages to avoid a page turn; yet it is packed with details and naunces.4. Beautifully engraved sections that visually make sense on the page.Tips:1. Measures 8-16 I named that chords as if both guitars were taken into consideration. I'm guilty of sometimes saying, Oh it's just a rock song with power chords, but then you look into the details, and the chords are actually quite jazzy.2. Maybe She sang needs a fermata?3. If a song is in B minor and never changes key, fret 1 will never happens! Be in position 2 for this song! That's why I didn't put fingerings in, they would have been as helpful as confusing.4. Maybe it's a given, but I recommend forcing melody notes on to the chord in one way or another. Sometimes I go on spurts of notating many complex chords to account for the melody, other times I just show one chord per measure but kind of assume that you'll make the guitar work more fancy with the melody notes. Maybe this is overthinking the arrangement, but there is great voicings I'm doing that I want to get across, but sometimes I won't do it because the score will get too busy looking. Just food for thought, depends on your agenda I suppose.
$2.99
Do You Hear How Many You Are?
#
Orchestre d'harmonie
#
FACILE
#
Contemporain
#
Keane Southard
#
Do You Hear How Many You Are?
#
Spindrift Pages
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. Published by Spin...
(+)
Concert Band - Level 2 - SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. Published by Spindrift Pages (A0.1027468). Do You Hear How Many You Are? for Concert Band was originally written in April and May of 2010 for SATB choir. I made this concert band arrangement in 2012. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes Grade 2 -Finalist, 3rd International Frank Ticheli Competition -Premiered April 19 2013 by the Minot State University Symphonic Band, Devin Otto, conductor Website: keanesouthard.instantencore.com.
$85.00
Do You Hear How Many You Are?
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Keane Southard
#
Do You Hear How Many You Are?
#
Spindrift Pages
#
SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1027467 Composed by Keane Southard. Contemporary. Octavo. 8 pages. Spindrift Pages #546435. Published by Spindri...
(+)
Choral Choir (SATB) - Level 4 - SKU: A0.1027467 Composed by Keane Southard. Contemporary. Octavo. 8 pages. Spindrift Pages #546435. Published by Spindrift Pages (A0.1027467). Do You Hear How Many You Are? for SATB choir was written in April and May of 2010. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes -Winner, 2010 Ars Nova Singers Colorado Composers Competition (Professional Division) -1st Prize, Warren County Summer Music School's Promising Young Composers Competition, 2014 Premiered June 3, 2011 in Boulder, CO by the Ars Nova Singers, Thomas Morgan-conductor PROJECT : ENCOREâ„¢ has found this work to be of exceptional merit. Its panel of internationally known conductors has selected this work for inclusion in its catalog of recommended choral music. Website: keanesouthard.instantencore.com.
$2.25
Stompin' Jam - Trumpet Trombone Duet
#
Trompette, Trombone (duo)
#
INTERMÉDIAIRE/AVANCÉ
#
Eddie Lewis
Jazz out wi
#
Eddie Lewis
#
Stompin' Jam - Trumpet Trombon
#
Tiger Music
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - SKU: A0.750372 Composed by Eddie Lewis. Blues,Jazz,Multicultural,World. Score and parts...
(+)
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - SKU: A0.750372 Composed by Eddie Lewis. Blues,Jazz,Multicultural,World. Score and parts. 4 pages. Tiger Music #6624793. Published by Tiger Music (A0.750372). Stompin’ Jam Trumpet and Trombone Duet MTR 0255 4143 By Eddie Lewis Jazz out with your trumpet or trombone friend playing this cool sounding duet. We’re calling it a jam because both players get to play a solo over the repeated accompaniment line. First the trombone player jams, then the trumpet. Here is the first of what I hope to be many, many duets made possible by my Just Friends video series. In this series I am inviting one of my musician friends over to make music, do an interview and maybe follow it all up with a Q and A session. I wrote this duet for one of those videos and we had a good time recording it. I enjoy writing music for the people I work with. Does trumpet and trombone seem like an odd duet to write? Well, you may not believe this, but sometimes trumpet players have trombone player friends. :-) Thus, the purpose of the duet. Trumpet Pro Skill Level The highest note in the trumpet part is B natural. The rhythms are also just a little complicated. That’s why we put this at the Trumpet Pro level. We recorded it the same day when I wrote it, so it’s not like I was working on this for days. But there was a little bit of awkwardness in the trumpet part. Practice Recommendations My number one suggestion for practicing this piece is to learn the rhythms first. Notice the anticipation of the third beat. This happens in almost every measure. This rhythm grew on me during my trip to South Africa in 2016 when I performed with the Afrika Mkhize big band. There were lots of songs at the jazz festival in Grahamstown that had that twelve-eight groove with the anticipated third beat. I am NOT saying that this composition is South African. I would not presume to know how to write that kind of music. What I am saying is that the music in South Africa has influenced my writing. In much the same way as playing in all those salsa bands in the 90’s did. So, recognize that the rhythms in this composition are very important and learn those first. The rest of it should fall into place after that. About the Trumpet Pro Skill Level The Trumpet Pro skill level is the fifth skill level in our system. This skill level has exercises and music up to high C. There are many other considerations in this skill level but that is the most obvious. To find more music for this specific skill level, search our other publications for the word Trumpet Pro in the title or descriptions. We publish books and compositions for students at the Trumpet Pro level that we believe you or your students will truly enjoy.
$4.99
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Why Did I Fall For That
