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Giovanna D'Arco
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Giuseppe Verdi
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Vittorio Tamburrano
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Giovanna D'Arco
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Vittorio Tamburrano
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet A Clarinet,Bassoon,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1490900 Composed by Giuseppe Verdi. Arranged b...
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Woodwind Ensemble,Woodwind Quintet A Clarinet,Bassoon,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1490900 Composed by Giuseppe Verdi. Arranged by Vittorio Tamburrano. 19th Century,Classical,Opera,Romantic Period. 52 pages. Vittorio Tamburrano #1067685. Published by Vittorio Tamburrano (A0.1490900). La trascrizione per quintetto di fiati della sinfonia Giovanna d'Arco nasce dall'esigenza di adattare l'opera per una formazione cameristica, mantenendo l'essenza drammatica e l'intensità dell'originale orchestrale. La sinfonia è stata trascritta per flauto, oboe, clarinetto, fagotto e corno. Ogni strumento è stato scelto per le sue capacità espressive e tecniche, permettendo una riproduzione fedele delle linee melodiche e armoniche. - *Flauto*: assegnato alle parti più leggere e agili, mantiene la brillantezza delle melodie principali e aggiunge colore nelle sezioni più drammatiche.- *Oboe*: utilizzato per il suo timbro caldo e penetrante, prende spesso le parti liriche e sostenute, evocando la forza interiore di Giovanna.- *Clarinetto*: grazie alla sua estensione e flessibilità, il clarinetto copre un ampio range, passando dalle tonalità più gravi e scure alle più acute e brillanti.- *Fagotto*: il fagotto dona profondità e gravità, spesso impiegato per sottolineare i momenti più cupi e solenni della sinfonia.- *Corno*: essenziale per ricreare la potenza e il carattere eroico della musica, il corno fornisce supporto armonico e contrappuntistico, oltre a enfatizzare i momenti più epici.La trascrizione tiene conto delle peculiarità timbriche di ciascuno strumento, adattando le dinamiche originali per sfruttare al meglio le caratteristiche del quintetto di fiati. Ad esempio, passaggi che nell'orchestra originale coinvolgono sezioni intere di archi sono stati ridistribuiti tra gli strumenti a fiato per garantire chiarezza e equilibrio sonoro. Una delle principali sfide è stata quella di mantenere l'intensità orchestrale nella riduzione per soli cinque strumenti. Questo è stato raggiunto attraverso l'uso di contrappunti interni, dinamiche ben calibrate e l'attenta gestione delle articolazioni, che permettono di ricreare l'impatto emotivo dell'originale. La trascrizione per quintetto di fiati della sinfonia Giovanna d'Arco offre una nuova prospettiva sull'opera, mettendo in luce dettagli e sfumature che nella versione orchestrale possono passare inosservati. La scelta del quintetto di fiati non solo rende la sinfonia accessibile a un gruppo più ristretto di musicisti, ma permette anche di esplorare le potenzialità espressive di ciascuno strumento.
$10.00
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburibá
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digit...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
C'est une valse
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Luc Gueugneau
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C'est une valse
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Digital Download SKU: ZZ.DZ-4293 Composed by Luc Gueugneau. Score. 8 pages. Les Productions d'OZ - Digital #DZ 4293. Published by Les Production...
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Guitar - Digital Download SKU: ZZ.DZ-4293 Composed by Luc Gueugneau. Score. 8 pages. Les Productions d'OZ - Digital #DZ 4293. Published by Les Productions d'OZ - Digital (ZZ.DZ-4293). Comme son nom l'indique, c'est une valse, tendre, intemporelle, teintée d'un zeste de mélancolie.As its name suggests, it is a waltz, tender, timeless, tinged with a zest of melancholy.
$5.95
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Le...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
PlayPopSongs: Elle est d'ailleurs
Support de cours
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French Songs
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PlayPopSongs
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Elle est d'ailleurs
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Quickpartitions
4.99€
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and p...
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Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
Schubert: MASS in G Major (Version for SSAA choir, SAA soli, strings and organ) set of orchestra par
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Classical
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Franz Schubert
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Roar Kvam
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Schubert: MASS in G Major
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KVAMusic Edition
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SheetMusicPlus
Small Ensemble - Level 3 - Digital Download SKU: A0.768512 Composed by Franz Schubert. Arranged by Roar Kvam. Romantic Period,Sacred. Score and parts. 98...
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Small Ensemble - Level 3 - Digital Download SKU: A0.768512 Composed by Franz Schubert. Arranged by Roar Kvam. Romantic Period,Sacred. Score and parts. 98 pages. KVAMusic Edition #5321083. Published by KVAMusic Edition (A0.768512). The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. This is the best known of the three shorter mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. The mass no. 2, commonly referred to as Schubert's Mass in G, was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's final intentions,they also include trumpet and timpani parts. Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.
$25.00
CANON IN D MAJOR FOR TWO GUITARS
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EMILIO ANTONUCCI
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EMILIO ANTONUCCI
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CANON IN D MAJOR FOR TWO GUITA
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EMILIO ANTONUCCI
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SheetMusicPlus
Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.1506625 By EMILIO ANTONUCCI. By J. Pachelbel. Arranged by EMILIO ANTONUCCI. Baroque,Classic...
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Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.1506625 By EMILIO ANTONUCCI. By J. Pachelbel. Arranged by EMILIO ANTONUCCI. Baroque,Classical,Early Music,Lent,Religious. 4 pages. EMILIO ANTONUCCI #1081993. Published by EMILIO ANTONUCCI (A0.1506625). Sebbene Pachelbel fosse un compositore barocco minore rispetto a giganti come Bach o Vivaldi, il Canon in D ha guadagnato enorme popolarità nel XX secolo, diventando parte della cultura popolare. È presente in numerosi film, spot pubblicitari, e ha ispirato arrangiamenti moderni in vari generi musicali.Canon in D Major di Johann Pachelbel è uno dei brani più iconici della musica barocca e viene spesso suonato in occasione di matrimoni e celebrazioni per la sua melodia elegante e serena.Caratteristiche Musicali:Forma: Il Canon in D è scritto in forma di canone, un tipo di composizione in cui una melodia viene ripetuta e imitata in maniera sequenziale da altre voci o strumenti. In questo caso, il brano è suonato da due chitarre: la prima chitarra esegue la melodia principale suonata con il capotasto al settimo tasto; la seconda chitarra esegue l'accompagnamento (senza capotasto).Basso Ostinato: Il brano è costruito su un basso ostinato, cioè una sequenza di otto note che viene ripetuta per tutta la durata del pezzo. Questa ripetizione crea una solida base armonica su cui si sviluppano le variazioni melodiche.Semplicità ed Eleganza: Nonostante la struttura ripetitiva, la progressione delle melodie sopra il basso continuo dà al brano una sensazione di crescendo e variazione, mantenendo l’ascoltatore coinvolto. Le frasi melodiche si arricchiscono e si complicano man mano che il brano prosegue, aggiungendo movimento e dinamismo.Atmosfera: Il Canon in D è conosciuto per la sua atmosfera calma e contemplativa grazie alla fluidità delle melodie che lo rendono perfetto per occasioni che richiedono un sottofondo musicale elegante e tranquillo.
$5.99
Schubert: MASS In G Major D-167 (Version for SSAA choir, SSA soli, strings and organ) - Score Only
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Classical
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Franz Schubert
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Roar Kvam
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Schubert: MASS In G Major D-16
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KVAMusic Edition
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1401951 Composed by Franz Schubert. Arranged by Roar Kvam. 19th Century,Classical,Latin,Praise and Worship,Romantic Pe...
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Level 3 - Digital Download SKU: A0.1401951 Composed by Franz Schubert. Arranged by Roar Kvam. 19th Century,Classical,Latin,Praise and Worship,Romantic Period. 123 pages. KVAMusic Edition #985149. Published by KVAMusic Edition (A0.1401951). The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. This is the best known of the three shorter mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. The mass no. 2, commonly referred to as Schubert's Mass in G, was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's final intentions,they also include trumpet and timpani parts. Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.
$20.00
Schubert: MASS In G Major D-167 (Version for SSAA choir, SSA soli, strings and organ)
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Classical
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Franz Schubert
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Roar Kvam
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Schubert: MASS In G Major D-16
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KVAMusic Edition
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SheetMusicPlus
Choral Choir (4-Part) - Level 3 - Digital Download SKU: A0.768510 Composed by Franz Schubert. Arranged by Roar Kvam. Romantic Period,Sacred. Octavo. 123 ...
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Choral Choir (4-Part) - Level 3 - Digital Download SKU: A0.768510 Composed by Franz Schubert. Arranged by Roar Kvam. Romantic Period,Sacred. Octavo. 123 pages. KVAMusic Edition #5321075. Published by KVAMusic Edition (A0.768510). The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. This is the best known of the three shorter mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. The mass no. 2, commonly referred to as Schubert's Mass in G, was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's final intentions,they also include trumpet and timpani parts. Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.
$55.00
Habanera 'L'amour est un oiseau rebelle' from Carmen
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Georges Bizet
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Dan Jones www
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Habanera 'L'amour est un oisea
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DanJonesGuitarist
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1408429 Composed by Georges Bizet. Arranged by Dan Jones www.danjonesguitarist.com. 19th Century,Classical,Op...
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Guitar - Level 3 - Digital Download SKU: A0.1408429 Composed by Georges Bizet. Arranged by Dan Jones www.danjonesguitarist.com. 19th Century,Classical,Opera. 21 pages. DanJonesGuitarist #991016. Published by DanJonesGuitarist (A0.1408429). Habanera (L'amour est un oiseau rebelle)by Georges Bizet. Arranged for Four Guitars by Dan Joneswww.danjonesguitarist.comI have provided a score with notes and TAB, a score with notes only (to facilitate directors' page turns) and all parts with notes and TAB or just notes.L'amour est un oiseau rebelle (Love is a rebellious Bird) or Habanera is one of opera's most popular arias. The melody was actually written by the Spanish musician Sebastián Iradier. Bizet mistakenly believed it to be a folk melody but was quick to credit the original author upon being informed of its origin.  Iradier had a gift for creating popular melodies as he also wrote the beautiful La Paloma. This arrangement employs a variety of timbres and the full range of the instruments. Guitars 3 & 4 are tuned to D and Guitar 1 has the option of playing up to a high A (fret 17), although this passage is equally effective played an octave lower (see note in score). I have provided a score with notes and TAB, a score with notes only (to facilitate directors' page turns) and all parts with notes and TAB or just notes. A video performance of this arrangement is available on YouTube or at www.danjonesguitarist.comFor a huge range of writings, arrangements, compositions and much more, for guitarists of all levels of experience, please visit www.danjonesguitarist.comI hope you enjoy playing Habanera as much as I have enjoyed arranging and performing it.
$6.95
West Fork Gals
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Traditional Fiddle Tunes
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Heather M Music
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West Fork Gals
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Heather Mueller Music
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SheetMusicPlus
Bass Guitar,Instrumental Solo,Piano,Violin - Level 1 - Interactive Download SKU: A0.1399113 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M M...
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Bass Guitar,Instrumental Solo,Piano,Violin - Level 1 - Interactive Download SKU: A0.1399113 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 5 pages. Duration 48. Heather Mueller Music #61jYAVJwERIoMDEubieRag. Published by Heather Mueller Music (A0.1399113). Key: D major.Title: West Fork Gals Type/Genre: Traditional Fiddle Tune - Reel (American) Availability: Sheet Music for Sale Step into the lively world of American fiddling with West Fork Gals, a spirited reel that captures the energetic spirit of traditional music from the United States. Key Features: American Flavor: West Fork Gals embodies the essence of American fiddle music, with its lively rhythm and catchy melody. Delve into the rich tapestry of American musical heritage as you explore this beloved tune. Interactive Sheet Music: Customize tempo and key adjustments using interactive sheet music, enabling personalized renditions of West Fork Gals. While the sheet music features the basic melody, remember that in fiddle music, the music serves as a suggestion, allowing room for your own embellishments and improvisations. Technique Enhancement: Elevate your fiddling skills with targeted exercises inspired by West Fork Gals. Explore scales, bowing techniques, and rhythmic patterns derived from this spirited reel, honing your mastery of American fiddling techniques. Cultural Connection: Connect with the cultural heritage of the United States as you delve into West Fork Gals. Let the music transport you to the lively square dances and community gatherings where American fiddlers have long celebrated the joy of music and dance. Whether you're a seasoned performer or a newcomer to American fiddle music, West Fork Gals offers a spirited musical experience that celebrates the vibrant spirit and tradition of American reel music. Join in the jubilant rhythms of West Fork Gals and let the music inspire your own musical journey through the heartland of America.
$2.99
Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
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J
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James M
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Bach-Gounod: Ave Maria, Schwen
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Ch...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888395. Published by jmsgu3 (A0.550930). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
Salut d'amour
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E
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Ester Alessandrini
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Salut d'amour
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ester
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SheetMusicPlus
Large Ensemble Cello,Flute,Guitar,Harp,Orff Instrument,Piano Accompaniment,Vibraphone,Violin - Level 2 - Digital Download SKU: A0.758300 Composed by E.El...
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Large Ensemble Cello,Flute,Guitar,Harp,Orff Instrument,Piano Accompaniment,Vibraphone,Violin - Level 2 - Digital Download SKU: A0.758300 Composed by E.Elgar. Arranged by Ester Alessandrini. Holiday,Love,Romantic Period,Wedding. Score and parts. 24 pages. Ester #3420801. Published by ester (A0.758300). Questa è una delle canzoni più famose di E.Elgar. Per farlo suonare come uno studente per i primi 3 anni di studio strumentale ho dovuto cambiare la chiave in Re maggiore e rendere più facili alcuni passaggi.
$16.00
Tarentelle
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Erik Marchelie
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Tarentelle
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Les Productions d'OZ - Digital
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SheetMusicPlus
Plectrum orchestra - Intermediate - Digital Download SKU: ZZ.DZ-2899 Composed by Erik Marchelie. Score. 27 pages. Les Productions d'OZ - Digital #DZ 2899...
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Plectrum orchestra - Intermediate - Digital Download SKU: ZZ.DZ-2899 Composed by Erik Marchelie. Score. 27 pages. Les Productions d'OZ - Digital #DZ 2899. Published by Les Productions d'OZ - Digital (ZZ.DZ-2899). ISBN 9782897378165.
$10.95
Rondo D-Dur KV 373
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Wolfgang Amadeus Mozart
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Rondo D-Dur KV 373
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Möseler Verlag
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SheetMusicPlus
Flute and chamber orchestra SKU: M2.MOS-40161-01 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester...
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Flute and chamber orchestra SKU: M2.MOS-40161-01 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Solo part. Möseler Verlag #MOS 40161-01. Published by Möseler Verlag (M2.MOS-40161-01). ISBN 9790203744092.Mozart schrieb das Rondo C-dur, KV 373 fur Violine und Orchester 1781 fur Antonio Brunetti, dem Konzertmeister der Salzburger Kapelle. Bereits im selben Jahr wurde das Werk von Brunetti aufgefuhrt; gedruckt wurde es aber erst 1800, neun Jahre nach Mozarts Tod. Ein Jahr spater erschien eine nach D-dur transponierte Fassung fur Querflote und Orchester. Zur Zeit der Klassik war das Uminstrumentieren eigener oder fremder Werke nicht mehr so ublich wie im Barock. Aber es gibt noch genugend Beispiele; gerade Mozart liefert den besten Beweis (KV 413). Im Gegensatz zu der Ausgabe von 1801 ist die vorliegende Fassung enger am Originaltext orientiert, behalt aber die Transposition nach D-dur bei; die Praxis hat gezeigt, dass die Querflote in der D-dur-Fassung besser klingt.
$2.95
Rondo D-Dur KV 373
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Wolfgang Amadeus Mozart
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Rondo D-Dur KV 373
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Möseler Verlag
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SheetMusicPlus
Flute and chamber orchestra SKU: M2.MOS-40161-10 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester...
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Flute and chamber orchestra SKU: M2.MOS-40161-10 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Set of wind parts. Möseler Verlag #MOS 40161-10. Published by Möseler Verlag (M2.MOS-40161-10). ISBN 9790203744108.Mozart schrieb das Rondo C-dur, KV 373 fur Violine und Orchester 1781 fur Antonio Brunetti, dem Konzertmeister der Salzburger Kapelle. Bereits im selben Jahr wurde das Werk von Brunetti aufgefuhrt; gedruckt wurde es aber erst 1800, neun Jahre nach Mozarts Tod. Ein Jahr spater erschien eine nach D-dur transponierte Fassung fur Querflote und Orchester. Zur Zeit der Klassik war das Uminstrumentieren eigener oder fremder Werke nicht mehr so ublich wie im Barock. Aber es gibt noch genugend Beispiele; gerade Mozart liefert den besten Beweis (KV 413). Im Gegensatz zu der Ausgabe von 1801 ist die vorliegende Fassung enger am Originaltext orientiert, behalt aber die Transposition nach D-dur bei; die Praxis hat gezeigt, dass die Querflote in der D-dur-Fassung besser klingt.
$9.95
Rondo D-Dur KV 373
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Wolfgang Amadeus Mozart
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Rondo D-Dur KV 373
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Möseler Verlag
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SheetMusicPlus
Flute and chamber orchestra SKU: M2.MOS-41244 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Hausmusik. Vocal/piano score. 14 pages. M...
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Flute and chamber orchestra SKU: M2.MOS-41244 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Hausmusik. Vocal/piano score. 14 pages. Möseler Verlag #MOS 41244. Published by Möseler Verlag (M2.MOS-41244). ISBN 9790203732440.Mozart schrieb das Rondo C-dur, KV 373 fur Violine und Orchester 1781 fur Antonio Brunetti, dem Konzertmeister der Salzburger Kapelle. Bereits im selben Jahr wurde das Werk von Brunetti aufgefuhrt; gedruckt wurde es aber erst 1800, neun Jahre nach Mozarts Tod. Ein Jahr spater erschien eine nach D-dur transponierte Fassung fur Querflote und Orchester. Zur Zeit der Klassik war das Uminstrumentieren eigener oder fremder Werke nicht mehr so ublich wie im Barock. Aber es gibt noch genugend Beispiele; gerade Mozart liefert den besten Beweis (KV 413). Im Gegensatz zu der Ausgabe von 1801 ist die vorliegende Fassung enger am Originaltext orientiert, behalt aber die Transposition nach D-dur bei; die Praxis hat gezeigt, dass die Querflote in der D-dur-Fassung besser klingt.
$11.95
Rondo D-Dur KV 373
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Wolfgang Amadeus Mozart
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Rondo D-Dur KV 373
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Möseler Verlag
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SheetMusicPlus
Flute and chamber orchestra SKU: M2.MOS-40161-60 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester...
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Flute and chamber orchestra SKU: M2.MOS-40161-60 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Set of string parts. Möseler Verlag #MOS 40161-60. Published by Möseler Verlag (M2.MOS-40161-60). ISBN 9790203743613.Mozart schrieb das Rondo C-dur, KV 373 fur Violine und Orchester 1781 fur Antonio Brunetti, dem Konzertmeister der Salzburger Kapelle. Bereits im selben Jahr wurde das Werk von Brunetti aufgefuhrt; gedruckt wurde es aber erst 1800, neun Jahre nach Mozarts Tod. Ein Jahr spater erschien eine nach D-dur transponierte Fassung fur Querflote und Orchester. Zur Zeit der Klassik war das Uminstrumentieren eigener oder fremder Werke nicht mehr so ublich wie im Barock. Aber es gibt noch genugend Beispiele; gerade Mozart liefert den besten Beweis (KV 413). Im Gegensatz zu der Ausgabe von 1801 ist die vorliegende Fassung enger am Originaltext orientiert, behalt aber die Transposition nach D-dur bei; die Praxis hat gezeigt, dass die Querflote in der D-dur-Fassung besser klingt.
$20.95
Rondo D-Dur KV 373
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Wolfgang Amadeus Mozart
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Rondo D-Dur KV 373
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Möseler Verlag
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SheetMusicPlus
Flute and chamber orchestra SKU: M2.MOS-40161 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. S...
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Flute and chamber orchestra SKU: M2.MOS-40161 Nach dem Rondo C-Dur. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. Möseler Verlag #MOS 40161. Published by Möseler Verlag (M2.MOS-40161). ISBN 9790203741619.Mozart schrieb das Rondo C-dur, KV 373 fur Violine und Orchester 1781 fur Antonio Brunetti, dem Konzertmeister der Salzburger Kapelle. Bereits im selben Jahr wurde das Werk von Brunetti aufgefuhrt; gedruckt wurde es aber erst 1800, neun Jahre nach Mozarts Tod. Ein Jahr spater erschien eine nach D-dur transponierte Fassung fur Querflote und Orchester. Zur Zeit der Klassik war das Uminstrumentieren eigener oder fremder Werke nicht mehr so ublich wie im Barock. Aber es gibt noch genugend Beispiele; gerade Mozart liefert den besten Beweis (KV 413). Im Gegensatz zu der Ausgabe von 1801 ist die vorliegende Fassung enger am Originaltext orientiert, behalt aber die Transposition nach D-dur bei; die Praxis hat gezeigt, dass die Querflote in der D-dur-Fassung besser klingt.
$16.95
Placido Abela - Israel per Domenica delle Palme
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Placido Abela
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Guido Menestrina
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Placido Abela - Israel per Dom
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Guido Menestrina
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SheetMusicPlus
Small Ensemble High Voice,Low Voice,Medium Voice,Organ - Level 3 - Digital Download SKU: A0.828737 Composed by Placido Abela. Arranged by Guido Menestrin...
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Small Ensemble High Voice,Low Voice,Medium Voice,Organ - Level 3 - Digital Download SKU: A0.828737 Composed by Placido Abela. Arranged by Guido Menestrina. Christian,Classical. Score and parts. 6 pages. Guido Menestrina #1987519. Published by Guido Menestrina (A0.828737). Israel per Domenica delle Palme ridotto dal Canto Fermo a tre voci con Organo ad libitum dal P. D. Placido Abela Cassinese (1814-1876), trascritto da Guido Menestrina. Il Gloria Laus è l'inno a Cristo Re che entra in Gerusalemme. Eccone il testo completo e la traduzione: Glória, laus et honor tibi sit, Rex Christe, Redémptor : Cui puerÃle decus prompsit Hosánna pium. R/. Glória, laus. Israël es tu Rex, Davidis et Ãnclita proles : Nómine qui in Dómini, Rex benedÃcte, venis. R/. Glória, laus. CÅ“tus in excélsis te laudat caélicus omnis, Et mortális homo, et cuncta creáta simul. R/. Glória, laus. Plebs Hebraéa tibi cum palmis óbvia venit : Cum prece, voto, hymnis, ádsumus ecce tibi. R/. Glória, laus. Hi tibi passúro solvébant múnia laudis : Nos tibi regnánti pángimus ecce melos. R/. Glória, laus. Hi placuére tibi, pláceat devótio nostra: Rex bone, Rex clemens, cui bona cuncta placent. R/. Glória, laus. Traduzione: Gloria, lode e onore a te, Re Cristo Redentore, Al quale una schiera di fanciulli cantò l'Osanna devoto. R/. Gloria, lode. D'Israele tu sei il Re, di David la nobile prole; Tu che vieni, Re benedetto, nel nome del Signore. R/. Gloria, lode. Nel più alto dei cieli, ti loda tutta la schiera celeste; E l'uomo mortale insieme, e tutte le cose create. R/. Gloria, lode. Il popolo ebreo ti venne incontro con le palme; Eccoci dinanzi a te con la preghiera, il voto, gli inni. R/. Gloria, lode. A te che andavi alla tua passione essi pagavano il loro tributo di lode. Noi ora innalziamo i nostri canti a te che regni glorioso. R/. Gloria, lode. Essi ti furono graditi, gradisci la nostra devozione; Re buono, Re clemente al quale piace tutto ciò che è bene. R/. Gloria, lode. Segui lo spartito su Youtube/ Videoscore: https://youtu.be/Mjs6wtv50ys.
$4.99
Handel: Largo from Xerxes for Oboe d'Amore & Piano
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Classical
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George Frideric Handel
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James M
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Handel: Largo from Xerxes for
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549387 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP....
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Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549387 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Wedding. Score and individual part. 9 pages. Jmsgu3 #3492327. Published by jmsgu3 (A0.549387). Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from XerxesSuitable for any venue requiring meditative music. Excellent choice for a recital encore. Xerxes Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many refer to it traditionally as Handel’s Largo, Handel has, on the contrary, clearly marked Larghetto in the score. Handel Background George Frideric Handel (1685 - 1759) was born in Germany but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. On the whole, Handel was very familiar with the contemporary music of Italy and Germany. Career in England It is essential to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London. Legacy Music historians agree that Handel was in general one of the greatest composers of the Baroque era.  To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He especially composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, Sinfonia from act 3 was featured in the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas.  Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have especially seen a pique of interest in historically informed musical performances. Since his death in 1779, interest in Handel's music has all in all, expanded. Â
$32.95
Bohm: Calm as the Night for Oboe d'Amore & Piano
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Carl Bohm
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James M
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Bohm: Calm as the Night for Ob
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549407 Composed by Carl Bohm. Arranged by James M. Guthrie, ASCAP. Romantic Per...
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Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549407 Composed by Carl Bohm. Arranged by James M. Guthrie, ASCAP. Romantic Period,Sacred,Standards,Wedding. Score and individual part. 12 pages. Jmsgu3 #3493529. Published by jmsgu3 (A0.549407). Duration: ca. 4:00, Score: 7 pages, solo part: 2 page, piano part: 3 pages. A very popular number for weddings, also effective for meditations and recital encores. Carl Bohm Carl Bohm, sometimes spelled with a K as in Karl Bohm, was born in 1844 and died in 1920. Bohm was a German composer, pianist, and songwriter. He was famous for writing songs with a light and optimistic atmosphere. Some of his most famous songs are Calm as the Night, Twilight, May Bells, Enfant Cheri, and The Fountain. In addition to his songs, he was a very popular composer of string quartets and string trios. His music was very popular and profitable. His publisher used some of the profits from sales of Bohm’s work to prepare the works of Johannes Brahms for publication. Output He certainly was prolific, not only with individual compositions but collections and albums of original music, such as the Bohm Album for the Pianoforte. The quality of his melodies is remarkable. They have a familiar quality similar to folk-songs. It’s no wonder they have become so popular.  His greatest masterpiece may well be the famous Calm as the Night as it is so well finished and refined. This song comes to us from a collection known simply as Lieder Op. 326. Calm as the Night (Still wie die Nacht) is listed as Number 27 in the collection. The song is scored for vocal duet and piano. The lyrics for Bohm’s Still wie die Nacht are anonymous. Lyrics: Still wie die Nacht Und tief wie das Meer, Soll deine Liebe sein! Wenn du mich liebst, So wie ich dich, Will ich dein eigen sein. Heiß wie der Stahl Und fest wie der Stein Soll deine Liebe sein! English: As quiet as the night And deep as the sea, Your love should be! If you love me The same as I love you, I want to be yours. As hot as steel And as firm as a rock, Your love should be!
$26.95
Bach-Gounod: Ave Maria for Oboe d'Amore & Piano
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Bach-Gounod
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James M
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Piano - S0
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Bach-Gounod: Ave Maria for Obo
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and individual part. 12 pages. Jmsgu3 #3490109. Published by jmsgu3 (A0.549360). This arrangement follows the original Bach prelude and so excludes the extra measure that Schwencke introduced in 1783. If you prefer the extra measure, please see Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano - S0.661867. The convenient 1st & 2nd endings provide an option for extended performance with minimal page turns for the accompanist. The duration with repeat is about 4:50. Score: 6 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95
Bach: Wachet auf for Oboe d'Amore & Piano
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Classical
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Oboe d'Am
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. ...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554879. Published by jmsgu3 (A0.552247). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
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