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Contre-tenor, piano
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Poul Ruders Edgar Allan Poe: The City In The Sea: Countertenor: Score
[Partitions]
Wilhelm Hansen
Poul Ruders composed The City In The Sea in 1989 for Alto Voice and full Orchest...
(+)
Poul Ruders composed The City In The Sea in 1989 for Alto Voice and full Orchestra. The piece incorporates words by the American poet Edgar Allan Poe. This 2013 reduction is for Alto or Countertenor and Chamber Ensemble (Wind Quintet and String Quartet with Piano).
38.50 GBP - Sold by Musicroom UK
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Jean-Philippe Rameau: Airs d'Opéra Haute-contre Vol. 1: Tenor: Vocal Score
Tenor voice, Piano
[Sheet music]
Barenreiter
Operatic Arias: Tenor Vol. 1-Haute-contre/Operatic arias: Tenor Volume 1 BA 9...
(+)
Operatic Arias: Tenor Vol. 1-Haute-contre/Operatic arias: Tenor Volume 1 BA 9196. This volume contains half of the great monologues arias and ariettas which Rameau composed for haute-contre and which are sung by Tenors today. Arias for tenor from the operas Acanthe et CĂ©phise (Acanthe) / AnacrĂ©on (Batile) / Castor et Pollux (Castor un Athlète) / Daphnis et ÉglĂ© (Daphnis) / Dardanus (Dardanus) / Les FĂŞtes de l’Hymen et de l’Amour (Osiris AruĂ©ris un Égyptien) / Les FĂŞtes de Polymnie (Alcide) / (Mercure) / La Guirlande (Myrtil) / Hippolyte et Aricie (Un Amour Hippolyte) / Les Indes galantes (Valère) /NaĂŻs (Neptune). - Detailed historical introduction (Fr/Eng). - Idiomatic Piano reduction arrangements based on the Opera Omnia Rameau. - Each piece is introduced by a prĂ©cis of the dramatic situation and an English translation of the vocal text. - Co-edited by the Centre de musique baroque de Versailles and the SociĂ©tĂ© Jean-Philippe Rameau. - Distributed exclusively by Bärenreiter.
56.50 GBP - Sold by Musicroom UK
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Jean-Philippe Rameau: Airs d'Opéra: Haute-contre Vol. 2: Tenor: Vocal Score
Tenor voice, Piano
Barenreiter
Operatic Arias: Tenor Vol. 2-J-P. Rameau's Haute-contre / Operatic arias: Tenor ...
(+)
Operatic Arias: Tenor Vol. 2-J-P. Rameau's Haute-contre / Operatic arias: Tenor Volume 2 BA 9197. This volume contains the second half of the great monologues arias and ariettas that Rameau wrote for Haute Contre and which are sung today by a high Tenor. It includes Tenor arias from the operas: “Les Paladins” (Atis Manto) / “PlatĂ©e” (Thespis PlatĂ©e) / “Pygmalion” (Pygmalion) / “Le Temple de la Gloire” (Apollon Bacchus Trajan) / “ZaĂŻs” (ZaĂŻis un Sylphe) / “Zoroastre” (Zoroastre).Features: Detailed historical Introductions (Fr/Eng) Well-presented idiomatic Piano reduction based on Rameau's “Opera Omnia” Each number is preceded by a brief account of the dramatic situation and an English translation of the Vocal text Co-edited by the Centre de musique baroque de Versailles and the SociĂ©tĂ© Jean Philippe Rameau (distributed exclusively by Bärenreiter)
53.50 GBP - Sold by Musicroom UK
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Vassilieva Elena - Vocalises Minute - Contre-tenor Ou Haute-contre and Piano
Français
Contralto voice, Piano
Lemoine, Henry
Présentation Ces vocalises sont faites pour trouver la virtuosité de sa voix,...
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Présentation Ces vocalises sont faites pour trouver la virtuosité de sa voix, et sa fluidité dans une écriture d'aujourd'hui. Vous y trouverez quelques fondamentaux comme les grands intervalles, la longue tessiture, pour toutes les voix, le chromatisme, le tempo rapide vocalisé, les slanci ou glissati, les quarts de tons, les nuances ainsi que les tenuti pianissimi ou encore le decrescendo finissant sur un fil di voce. La valeur ajoutée sur le plan rythmique habituera le chanteur à combiner les textes sur une pulsation interne permanente malgré l'exécution de la mélodie étudiée. Les tenuti ouvriront l'imaginaire du chanteur en y plaçant le texte, ad libitum. Les respirations inaudibles pour certains textes - proches de la mélodie ou du récitatif - côtoieront quelques inspirations et expirations audibles, ou sons-bruits fantômes. J'accorde beaucoup d'importance à l'articulation du texte en bouche, et à la place des lèvres dans l'acoustique du son. En effet, le chanteur transporte son propre théâtre à l'italienne partout et son palais devient alors le fin connaisseur de la place des aigus et sur-aigus. Le chanteur est un gourmet de sa bouche et de tout son appareil phonatoire et respiratoire. Le sprechgesang aura une large part dans ces vocalises. Quelques nouvelles idées d'écritures apparaissent comme celles des agrégats ou arpèges, les pleurs, les rires, la main devant la bouche, le rauco, les sons soufflés, le bruit des lèvres, la langue sortie roulée sur la lèvre supérieure, les claquements de langue, le vibrato glottique. La présence du chanteur sera indispensable pour donner du sens aux textes empruntés au répertoire des opéras classiques choisis. Ces Airs connus par coeur par chaque chanteur, que ce soit Carmen, Adolar, Méphistophélès, Mab, Pédrillo, Marina, Anna Bolena, Lucrezia, Philippe II, Urbain, La Reine de la nuit, Vulcain, Sarastro ou Erda, pour n'en citer que quelques-uns, glisseront peu à peu dans des traitements - stylistiques et vocaux - déformés par tout ce que j'ai cité plus haut : à savoir que la virtuosité prend le pas sur la texture du texte et de la voix : des phonèmes en lien avec la compréhension du texte, ou non, agrémenteront la réactivité du chanteur, vers une attitude ludique, inventive et drôle, bien que précise et technique. La sûreté des attaques sera appréciée, comme l'apprentissage des différents effets vocaux (une vingtaine, en tout) et de leurs cryptogrammes respectifs. Si cette collection s'adresse à des chanteurs expérimentés et sûrs de leur technique globale, elle provoquera certainement des prises de conscience sur le couple voix et répertoire, peu évident à mettre en place chez de jeunes artistes, appelés à mûrir, à expérimenter, donc à évoluer dans leur répertoire, et leur confort d'émission. La beauté de l'instrument est indispensable pour défendre le cadre scénique de chaque vocalise : j'invite les jeunes chanteurs à croiser la voix, sa technique avec le jeu, l'amusement et sa virtuosité. La soif et le bonheur de chanter se mesureront à la discipline de l'apprentissage. Jeunes artistes doués et patients, devenez ces êtres-bouches à la fois chanteurs-conteurs-hypnotiseurs et connaisseurs alchimiques du pouvoir colossal de la voix humaine. Ouvrez vos cerveaux et vos bouches : le monde vous réclame ! La préoccupation qui fut la mienne concernant les voix de contre-ténors et hautes-contre est de montrer l'exceptionnelle capacité de ces voix, autant esthétiques que techniques, voire pyrotechniques. Je reste frappée par la curiosité doublée du sens du risque que possède la plupart de ces artistes, avec un A majuscule. En effet, pour chanter de la musique d'aujourd'hui, le contre-ténor et la haute-contre doivent être des excellents émetteurs de sons classiques avec tout l'éventail des non vibrati et des ornements baroques avec, en plus, une soif de gourmets vocaux. Seules cette soif, cette vivacité d'esprit et cette prise de risque ouvriront la voie aux effets vocaux précis, au service de la dramaturgie sonore, sans geste. C'est pourquoi j'ai écrit des textes où la voix chante en solo, sans accompagnement. La voix est seule à bord, suave peut-être, mais technique, sûre et exigeant une grande présence. Or, cette présence semble attachée à cette tessiture rare, servant à la fois l'époque baroque et le répertoire contemporain. Les langues utilisées ici sont l'allemand, le latin, l'italien et le français. Il y aura aussi des vocalises avec piano, sur des modes vocaux et stylistiques connus où le chanteur issu du baroque se retrouvera aisément, malgré l'écriture contemporaine qui filtre peu à peu, avec son chapelet de cryptogrammes et d'effets. Ces vocalises seront en anglais, italien et français. Messieurs, débutants et professionnels, restez ces torches vivantes, enthousiastes. La variété de votre ambitus fait aussi partie de votre singularité et de l'hypnose que vous exercez auprès du public. De nombreux compositeurs d'aujourd'hui sont attirés par vos facettes et écrivent pour vos instruments : sollicitez-les ! Contenu I. O solitude - II. Erbarme dich - III. Sweet nightingale - IV. Infirmata, vulnerata - V. Nacht und Träume - VI. Eternita - VII. Puisque j'ai mis ma lèvre - VIII. Bella amorosa - IX. Artabano - X. Alto giove
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Songs For Countertenors Volume 2: Countertenor: Vocal Album
Countertenors/Piano Accompaniment
[Sheet music]
-
Intermediate/advanced
Thames Publishing
The second collection in the series of performance folios for Countertenor voice...
(+)
The second collection in the series of performance folios for Countertenor voices with full Piano accompaniment. Ten pieces by a variety of composers from Dowland to Vaughan Williams for the accomplished high male voice. Selected by Frederic Hodgson with foreword by James Bowman.
10.99 GBP - Sold by Musicroom UK
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Songs For Countertenors Volume 1: Countertenor: Vocal Album
Countertenors/Piano Accompaniment
[Sheet music]
-
Intermediate/advanced
Thames Publishing
The first collection in the series of performance folios for Countertenor voices...
(+)
The first collection in the series of performance folios for Countertenor voices with full Piano accompaniment. Eight pieces by a variety of composers from Dowland to Vaughan Williams for the accomplished high male voice. Selected by Frederic Hodgson with foreword by James Bowman.
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Soliloque De La Grace Contre Tenor Voix Seule
Piano, Voice
Salabert
/ Voix Et Piano
9.85 EUR - Sold by LMI-partitions
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Songs For Countertenors Volume 3: Countertenor: Vocal Album
Countertenors/Piano Accompaniment
[Sheet music]
-
Intermediate/advanced
Thames Publishing
The third collection in the series of performance folios for Countertenor voices...
(+)
The third collection in the series of performance folios for Countertenor voices with full Piano accompaniment. Ten pieces by a variety of composers from Dowland to Vaughan Williams for the accomplished high male voice. Selected by Frederic Hodgson with foreword by James Bowman.
13.99 GBP - Sold by Musicroom UK
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Michael Nyman: No Time In Eternity: Vocal: Vocal Work
Tenor voice, Piano
Chester
Setting the texts of Robert Herrick this work for Countertenor and Viol Consort...
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Setting the texts of Robert Herrick this work for Countertenor and Viol Consort was commissioned by Paulin BĂĽndgen - Ensemble CĂ©ladon Grame cncm and Centre culturel de rencontre d'Ambronay. Score and parts available: CH84744
9.99 GBP - Sold by Musicroom UK
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New Orleans Classics: Double Bass Solo: Instrumental Album
Double Bass
[Sheet music + CD]
Music Minus One
Performed by Matt Perrine bass and Sousaphone Accompaniment: Tim Laughlin's Ne...
(+)
Performed by Matt Perrine bass and Sousaphone Accompaniment: Tim Laughlin's New Orleans All-Stars Many people consider New Orleans the birthplace of jazz. After all Louis Armstrong was born and played there as well as Joseph King Oliver the Dodds Brothers Sidney Bechet and a roster of players to fill not one but many all-star bands. Louis Prima was a 'child of the Crescent City' as is Harry Connick and Wynton Marsalis. The whole Marsalis clan was raised there and are all acknowledged jazz masters so its reputation as the seminal jazz town has long been acknowledged. We assembled a band of New Orleans' best players for our times veterans all of many street parades andsteamboat gigs and asked them to put together a typical program of New Orleans classics. Under the direction of Tim Laughlin clarinetist supreme and led by Connie Jones Jr. one of the great hornmen of this city which boasts so many great players they put together an album of must-hear must-have songs that every traditional jazz player cherishes. Hear them now in these perfect renditions. Then join the band on your own instrument be it clarinet trumpet trombone tenor piano bass or drums as they swing through the French Quarter of New Orleans.
19.99 GBP - Sold by Musicroom UK
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Ecouter Lire Et Jouer - Les Grands Classiques - Saxophone Tenor and Piano
Français
Tenor Saxophone and Piano
[Sheet music + Audio access]
De Haske Publications
La collection Écouter, lire et jouer est aujourd?hui une référence pour l?ens...
(+)
La collection Écouter, lire et jouer est aujourd?hui une rĂ©fĂ©rence pour l?enseignement des cuivres et des bois. Tous accompagnĂ©s d?un CD, ces ouvrages passionnants destinĂ©s aux dĂ©butants contiennent des chansons, des casse-tĂŞte musicaux et des jeux pour mieux comprendre la musique, des informations sur l?instrument concernĂ©, et de nombreuses pièces agrĂ©ables Ă jouer. Les trois volumes de la mĂ©thode qui forment la base de cette collection sont complĂ©tĂ©s par plusieurs volumes de matĂ©riel complĂ©mentaire correspondant aux diverses Ă©tapes de cette mĂ©thode. Dans Les Grands Classiques, les mĂ©lodies sont prĂ©sentĂ©es en ordre croissant de difficultĂ© et peuvent ĂŞtre travaillĂ©es conjointement avec les trois volumes de la mĂ©thode Écouter, lire et jouer. EmmenĂ©s dans un voyage Ă travers l?histoire de la musique, les Ă©lèves rencontrent les plus importants compositeurs de la musique classique, depuis Tielman Susato jusqu?Ă AntonĂn Dvo?ák, et bĂ©nĂ©ficient de commentaires historiques pertinents. La prĂ©sente Ă©dition comprend des partitions pour accompagnement au piano soigneusement arrangĂ©es dans un niveau de difficultĂ© modĂ©rĂ©, dont les enregistrements sont disponibles sous forme de fichiers en ligne Ă Ă©couter en streaming ou Ă tĂ©lĂ©charger. Hymne Ă la joie O Haupt voll Blut und Wunden Marche du prince de Danemark La Mourisque A lieta vita La Truite Largo Valse ? La Belle au bois dormant Marche pour la cĂ©rĂ©monie des Turcs PrĂ©lude Symphonie « La Surprise » Le Printemps Valse, op. 39 Alla Hornpipe Sinfonie Nr. 40 Menuet
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Aria From La Recontre Imprevue
Broekmans
/ Tenor, Flûte Traversière Et Piano
18.00 EUR - Sold by LMI-partitions
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Points De Rencontre (LOPEZ ALAIN)
[Score and Parts]
-
Intermediate/advanced
FLEX Editions
Soprano Saxophone [Tenor] and Piano. Par LOPEZ ALAIN. Composition lumineuse et c...
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Soprano Saxophone [Tenor] and Piano. Par LOPEZ ALAIN. Composition lumineuse et colorée, aux lignes mélodiques basées sur un jeu de syncopes et pourvue d'une cadence. Elle s'adresse à des interprètes d'un niveau technique et musical déjà confirmé. - Alain LOPEZ - Une Pièce originale adaptée pour une audition ou un examen de Fin de 2e Cycle - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Saxophone Soprano ou Ténor 1 Piano - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 4 mn 20 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Alain LOPEZ - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Saxophone Soprano ou Saxophone Ténor et Piano
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Chinese Lyrics Set 2: Countertenor: Vocal Album
[Sheet music]
Stainer and Bell
ContentsAt the riverside (C sharp - D)Crossing the Han river (C sharp - C sharp)...
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ContentsAt the riverside (C sharp - D)Crossing the Han river (C sharp - C sharp)Green green the riverside grass (C sharp - E)Inscribed on a small garden wall (C - C sharp)Night (C - E)White clouds are in the sky (C - C sharp)
5.75 GBP - Sold by Musicroom UK
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New Tunes For Strings Vol.2
English
Violin
[Score]
Boosey and Hawkes
/ Violon, Violoncelle, Alto, Contrebasse Et Piano (Flexible)
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Anne Boyd: Meditations on a Chinese Character: Chamber Ensemble: Score
CTEN/FLT/SHA/AFLT/VLC/PFC(2)/HARP/PERC ::Contretenor, Fl?te Traversi?re, Shakuhachi, Fl?te Alto, Violoncelle, Piano De Chambre(Duo), Harpe, Percussion
[Sheet music]
University Of York Music Press
For Counter-Tenor Flute Shakuhachi (or Alto Flute) Cello 2 Pianos Harp and ...
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For Counter-Tenor Flute Shakuhachi (or Alto Flute) Cello 2 Pianos Harp and Percussion.Published in 1996.Commissioned by Roger Woodward for the composer's 50th Birthday Concert in the Seventh Sydney SpringFestival 1996.Recorded on ABC Classics (ABC 462 007 - 2)
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Double Bass Sight - Reading
Double Bass
Schott
This collection presents 195 carefully graded sight-reading pieces and exercises...
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This collection presents 195 carefully graded sight-reading pieces and exercises in a range of musical styles, for solo Double Bass. Taking an approach based on self-learning, the 11 sections of the book focus on developing different key technical skills as well as introducing the student to a plethora of musical terms.Each section of the book contains solos, as well as Double Bass duets, and pieces with piano accompaniment for practising ensemble sight-reading. Suitable for preliminary, to advanced level students. Part of the comprehensive Sight-Reading series published by Schott and edited by John Kember. / Contrebasse
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Verschaeve Michel - Airs D'operas Baroques - Tenor Ou Haute-contre A La Francaise Et Piano
Tenor voice, Piano
Jobert
BOISMORTIER Bodin de : Daphnis et Chloé (Air de Daphnis) - BOUVARD et BERTIN : ...
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BOISMORTIER Bodin de : Daphnis et Chloé (Air de Daphnis) - BOUVARD et BERTIN : Cassandre (Récit et Air d'Apollon) - CAMPRA André : L'Europe galante (L'Espagne, Air de Dom Pédro) - CHARPENTIER Marc-Antoine : David et Jonathas (Récit et Air de David) - COLLASSE Pascal : Enée et Lavinie (Air d'Enée) - DESMARETS Henri : Circé (Air d'Ulysse) - LULLY Jean-Baptiste : A madis (Air d'Amadis) - LULLY Jean-Baptiste : Armide (Air de Renaud) - MARAIS Marin : Alcyone (Air de Ceix) - MONDONVILLE Cassanéa de : Titon et l'Aurore (Air de Titon) - RAMEAU Jean-Philippe : Dardanus (Air de la prison) - RAMEAU Jean-Philippe : Platée (Air de Platée)
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The Old Tower Of Löbenicht
Violon Solo (Ou Alto), Clarinette Basse, Cor Tenor (Ou Trombone), Percussions, Piano, Guitare Electrique, Violoncelle Et Contrebasse
Schott
/ Violon Solo (Ou Alto), Clarinette Basse, Cor Tenor (Ou Trombone), Percussions...
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/ Violon Solo (Ou Alto), Clarinette Basse, Cor Tenor (Ou Trombone), Percussions, Piano, Guitare Electrique, Violoncelle Et Contrebasse
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6 P. M.
Boosey and Hawkes
Le style décontracté de David Benoit est apparent dans cette composition Jobim...
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Le style décontracté de David Benoit est apparent dans cette composition Jobim-esque de son CD 2006 ' Full Circle '. Caractéristiques de la version de Mark lisse des harmonies et des lignes fluides dans une excellente adaptation pour convenable pour festivals ou occasionnels concerts de jazz ensemble. / Saxophone Alto, Saxophone Tenor, Saxophone Baryton, Trompette, Trombone, Guitare, Piano, Contrebasse, Percussions, Tambours Congas, Vibraphone Et Flûte Traversière En Partition
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6 P. M.
Boosey and Hawkes
Le style décontracté de David Benoit est apparent dans cette composition Jobim...
(+)
Le style décontracté de David Benoit est apparent dans cette composition Jobim-esque de son CD 2006 and ldquo-Full Circle. and rdquo - version de Mark caractéristiques lisse des harmonies et des lignes fluides dans une excellente adaptation pour convenable pour festivals ou occasionnels concerts de jazz ensemble. / Saxophone Alto, Saxophone Tenor, Saxophone Baryton, Trompette, Trombone, Guitare, Piano, Contrebasse, Percussions, Tambours Congas, Vibraphone Et Flûte Traversière En Partition
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Leonard Bernstein: If You Can't Eat You Got To: TTBB: Vocal Score
Tenor, Choeur D'Hommes (TTBB) Et Piano, En Partition Contrebasse Et Percussions
Boosey and Hawkes
For men's choir (TTBB) tenor solo and piano with option double bass and percus...
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For men's choir (TTBB) tenor solo and piano with option double bass and percussion. Setting of the poem by E. E. Cummings.
3.75 GBP - Sold by Musicroom UK
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Tarik O'Regan: The Appointment: Countertenor: Vocal Work
[Vocal Score]
Novello & Co Ltd.
Version for Countertenor and Piano composed in 1999. Commissioned by James Bowma...
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Version for Countertenor and Piano composed in 1999. Commissioned by James Bowman.
7.99 GBP - Sold by Musicroom UK
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Frode Fjellheim: Norwegian Sámi Songs: Unison Voices
Choeur A L'Unisson, Saxophone Tenor, Contrebasse Et Piano
Boosey and Hawkes
Two Sámi People-Unison. Fjellheim F
4.25 GBP - Sold by Musicroom UK
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Giovannino: Sonate A: Double Bass: Instrumental Work
Double bass, Piano (duet)
[Score and Parts]
Yorke Edition
Very little is known about the two sonatas which appear here in their original k...
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Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Ă Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Ă Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that
5.95 GBP - Sold by Musicroom UK
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John Walton: A Deep Song: Double Bass: Instrumental Work
Double bass, Piano (duet)
[Sheet music]
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Intermediate/advanced
Yorke Edition
Short and melodic; a clever and simple introduction to the tenor clef. Walton ta...
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Short and melodic; a clever and simple introduction to the tenor clef. Walton taught for many years at the Royal Academy of Music in London and Yorke Edition has a number of his works in the catalogue. Grade: 5.
4.50 GBP - Sold by Musicroom UK
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Robert Saxton: Cantata On Poems Of Holderlin: Vocal Duet: Score
[Sheet music]
Chester
For Tenor Counter-Tenor and Piano.
12.99 GBP - Sold by Musicroom UK
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Michael Nyman: Self Laudatory Hymn Of Inanna: Chamber Ensemble: Score
[Sheet music]
Chester
Michael Nyman was inspired to write this single-movement piece Self Laudatory Hy...
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Michael Nyman was inspired to write this single-movement piece Self Laudatory Hymn Of Inanna And Her Omnipotence in 1992 after having discovered the text in the library of a friend. The words belong to Inanna the Queen of theHeavens in the Sumerian religion who proclaims audaciously all that her father Enil has bestowed upon her. Nyman composed the piece for counterTenor James Bowman and recorded it on his eighteenth album Time Will Pronounce:The 1992 Commissions. Unlike many of Nyman’s other albums this one features only one member of the Michael Nyman Band.Nyman is a contemporary British composer of richly layered modular minimalist pieces often incorporatingperiod instruments or instrumentation outside the normal Orchestral offerings. He is particularly well known for his film scores including The Piano The Cook The Thief His Wife and Her Lover Prospero’s Books and The Claim among many others. His work is widely performed.
8.99 GBP - Sold by Musicroom UK
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Christoph Willibald Gluck: La Rencontre imprevue: Opera
Divers
Barenreiter
Opéra comique in 3 Akten-OpEra comique in three acts. By Christoph Willibald vo...
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Opéra comique in 3 Akten-OpEra comique in three acts. By Christoph Willibald von Gluck. Edited by Harald Heckmann. Arranged by Elisabeth Heckmann. Text: Louis H Dancourt. For Soprano Solo (4) Tenor Solo (3) Bass Solo (3) Speaker (2) Orchestra. Piano Reduction/Vocal Score; Urtext Edition (paperbound). Duration 120'. Published by Baerenreiter-Ausgaben (German import). (BA2280 90) ISBN M006419524.
49.00 GBP - Sold by Musicroom UK
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