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You've selected:
A Trip to Holy-Well
Sheetmusic to print
11 sheet music found
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1
A Trip to Holy-Well
Flute, Violin and Violoncello
Small Ensemble Cello,Flute,Violin - Interactive Download SKU: A0.482022 Arranged by…
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Small Ensemble Cello,Flute,Violin - Interactive Download SKU: A0.482022 Arranged by Dan van Loon. This edition: Interactive Download. Classical. Score and parts. 4 pages. Duration 46. Published by Daniel van Loon (A0.482022). An English country dance tune that can be played 3 or 6 times for a 3-couple dance by the same name.
$3.00
2.77 €
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Flute, Violin and Violoncello
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A Trip to Holy-Well
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Daniel van Loon
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SheetMusicPlus
Please Try to Remember Me (Holy Thursday) - vocal trio, flute and piano
Piano, Voice
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801303 Composed by Co…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801303 Composed by Connie Boss. Easter. Score. 4 pages. Connie Boss #5197971. Published by Connie Boss (A0.801303). Holy Thursday - Washing of the feet song. It is a vocal trio with flute and piano. The verses are for solo voice or could be all in unison with harmonies added. The instruments are optional except the piano. Voices are written in treble clef but men could be added as well. The YouTube link is with a cello instead of flute, but it will be the same music.Questions or requests, email cdboss@cvalley.netHoly Thursday/Washing of the Feet/The Last Supper Verse 1: Jesus said to His apostles, welcome to this feast – He said Please try to remember me This was the night of His last supper, they all sat down to eat. He said Please try to remember me. Refrain: For I will be with you always Keep me in your heart Verse 2: Then He knelt before each man and placed their feet in His hands – He said Please try to remember me He washed their feet of the dirt and sand from their trip on the land – He said Please try to remember me Refrain: For I will be with you always Keep me in your heart Verse 3: He told them of His fate that night and saw that they were filled with fright – He said Please try to remember me Now go forth and spread the word, the message that you’ve heard – He said Please try to remember me Refrain: For I will be with you always Keep me in your heart.
$5.50
5.08 €
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Piano, Voice
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Connie Boss
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Please Try to Remember Me
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Connie Boss
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SheetMusicPlus
Please Try to Remember Me (Holy Thursday) - vocal trio, cello and piano
Small Ensemble Alto Voice,Cello,Piano,Soprano voice - Level 2 - Digital Download SKU: A…
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Small Ensemble Alto Voice,Cello,Piano,Soprano voice - Level 2 - Digital Download SKU: A0.801304 Composed by Connie Boss. Easter. Score and parts. 4 pages. Connie Boss #5197949. Published by Connie Boss (A0.801304). Holy Thursday - Washing of the feet song. It is a vocal trio with cello and piano. The verses are for solo voice or could be all in unison with harmonies added. The instruments are optional except the piano. Voices are written in treble clef but men could be added as well.Questions or requests, email cdboss@cvalley.netHoly Thursday/Washing of the Feet/The Last SupperVerse 1: Jesus said to His apostles, welcome to this feast – He said Please try to remember me This was the night of His last supper, they all sat down to eat. He said Please try to remember me. Refrain: For I will be with you always Keep me in your heart Verse 2: Then He knelt before each man and placed their feet in His hands – He said Please try to remember me He washed their feet of the dirt and sand from their trip on the land – He said Please try to remember me Refrain: For I will be with you always Keep me in your heart Verse 3: He told them of His fate that night and saw that they were filled with fright – He said Please try to remember me Now go forth and spread the word, the message that you’ve heard – He said Please try to remember me Refrain: For I will be with you always Keep me in your heart.
$5.50
5.08 €
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Connie Boss
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Please Try to Remember Me
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Connie Boss
#
SheetMusicPlus
O Holy Night
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.778158 Composed by Adolphe-Charles …
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Piano Solo - Level 3 - Digital Download SKU: A0.778158 Composed by Adolphe-Charles Adam. Arranged by Jeremy Yowell. Christian,Christmas,Sacred,Spiritual,Standards. Score. 3 pages. Jeremy Yowell #3358685. Published by Jeremy Yowell (A0.778158). O Holy Night - it’s everyone’s favorite carol! In this intermediate arrangement, step-wise intervals of a sixth and repeated triplet patterns make a sight-reading accessible for your student. While some hand repositioning is required, there are finger numbers given to assist in these movements.
$4.99
4.61 €
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Piano solo
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Adolphe-Charles Adam
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O Holy Night
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Jeremy Yowell
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SheetMusicPlus
Offertory on "Vom Himmel Hoch" (From Heaven Above to Earth I Come), organ work by Phil Lehenbauer
Organ
Organ - Level 3 - Digital Download SKU: A0.1316109 Composed by Martin Luther. Arran…
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Organ - Level 3 - Digital Download SKU: A0.1316109 Composed by Martin Luther. Arranged by Phil Lehenbauer. Advent,Christmas,Classical,Sacred,Traditional. Score. 4 pages. Phil Lehenbauer #904857. Published by Phil Lehenbauer (A0.1316109). This is the second movement from A Vom Himmel Hoch Triptych, a three movement work based on the Christmas hymn From Heaven Above to Earth I Come. This gentle setting is based on the words from a verse which states Ah, Dearest Jesus, Holy Child, and is meant to be calm, serene, and meditative. The melody is found in the pedal part, while the melody above includes fragments of Divinum Mysterium, better known as Of the father's love begotten. It was written and recorded on a two manual instrument. The complete three movement triptych is available on this website as well. May it add beauty to your Advent and Christmas season!
$3.50
3.23 €
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Organ
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Martin Luther
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Offertory on "Vom Himmel Hoch"
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Phil Lehenbauer
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SheetMusicPlus
Adam: Cantique de Noël (O Holy Night) - wind quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1154538 Composed by Adolphe-Charles Adam. Arranged by Ray Thompson. 20th Century,Christian,Christmas. 9 pages. RayThompsonMusic #754821. Published by RayThompsonMusic (A0.1154538). Arranged wind quintet O Holy Night (original title: Cantique de Noël) is a well-known sacred song for Christmas performance. Originally based on a French-language poem by poet Placide Cappeau, written in 1843, with the first line Minuit, Chrétien, c'est l'heure solennelle (Midnight, Christian, is the solemn hour) that composer Adolphe Adam set to music in 1847. The English version (with small changes to the initial melody) is by John Sullivan Dwight. The carol reflects on the birth of Jesus as humanity's redemption. This arrangement for wind quintet is based an arrangement for organ and chorus, by Dudley Buck. The triplet figure are shared between clarinet, horn and bassoon. The melody is shared between oboe, clarinet and flute.
$7.95
7.34 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Adolphe-Charles Adam
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Adam: Cantique de Noël
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RayThompsonMusic
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
81.26 €
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Choral SATB
#
Adrian Gagiu
#
Missa Solemnis, op. 27
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Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
92.35 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
Were You There?
Choral SATB
Choir Sacred (SATB choir) - Grade 3 - Digital Download SKU: JX.00-23617 Arranged by…
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Choir Sacred (SATB choir) - Grade 3 - Digital Download SKU: JX.00-23617 Arranged by Larry Shackley. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Jubilate Archive Edition. Holy Week; Palm Sunday; Sacred; Spiritual; Spring. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-23617. Published by Jubilate Music Group - Digital (JX.00-23617). English. Psalm 22, Psalm 31, Isaiah 52:13-53:12, Mark 15:1-39, John 18:1-19:42.Your congregation will be transported from the very first measure of this beautiful setting of the traditional spiritual, Were You There? Larry Shackley's meditative keyboard accompaniment invokes quiet awe at the scene of our Lord's crucifixion, and his brilliant use of triple meter gives it a compelling flow. The choir's gentle entrance gradually swells into the refrain, Oh, sometimes it causes me to tremble! The soul of the believer will swell in response to this extraordinary arrangement for Lent, Holy Week and Passion/Palm Sunday. Available in 2 voicings.
$2.25
2.08 €
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Choral SATB
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Choral Octavo
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Were You There?
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Jubilate Music Group - Digital
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SheetMusicPlus
Were You There?
Handbells
Handbell - Level 3 - Digital Download SKU: A0.1044825 Composed by African-American …
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Handbell - Level 3 - Digital Download SKU: A0.1044825 Composed by African-American Spirtitual. Arranged by Mark R. Lewis. Easter,Holiday,Praise & Worship,Spiritual,Traditional. Score. 4 pages. Mark R Lewis #649443. Published by Mark R Lewis (A0.1044825). Were You There? is a wonderful African-American spiritual especially in the context of Good Friday and Holy Week. The lyrics ask the listener if they were there at Jesus' crucifixion and bring to mind contemplation of what the event would have been like. This arrangement by Mark R Lewis is for 3-5 octave handbell choir and adds handchimes for C5 to C7 as well. The singing bell technique is also utilized. This piece is potentially quite rhythmically challenging as there are many examples of triplet and duplet rhythms happening simultaneously. However, the actual techniques, bell changes, and overall difficulty of the parts is not too extreme, leading to a difficulty rating of 4-. Season: Holy Week, Good Friday Range: 3-5 octave.
$3.99
3.68 €
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Handbells
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African-American Spirtitual
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Were You There?
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Mark R Lewis
#
SheetMusicPlus
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