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Abstraction 3
SheetMusicPlus
Sheetmusic to print
95 sheet music found
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1
26
51
76
Abstraction 3
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Philip Lashley
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Abstraction 3
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Philip Lashley
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.1008728 Composed by Philip Lashley. Contemporary. Individual part. 2 pages. Philip Lashley #5019741. Pub...
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Solo Guitar - Level 4 - Digital Download SKU: A0.1008728 Composed by Philip Lashley. Contemporary. Individual part. 2 pages. Philip Lashley #5019741. Published by Philip Lashley (A0.1008728). Abstraction 3 is one fifth of Five Abstractions for solo guitar. It is suitable for intermediate to advanced players. It can be played desperately or as a part of Five Abstractions for solo guitar. It has a light texture and a happy, upbeat melody.
$1.99
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 3: Le Matin au bor
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 3: Vous ne voulez pas from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 3: Vous ne voulez
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-03E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-03E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-03E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-03E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 3: Adieu from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
#
MeeAe Cecilia Nam and Theodore
#
Op. 1, No. 3: Adieu from Songs
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Epiphany Abstract
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Organ
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INTERMEDIATE
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Frederick Frahm
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Epiphany Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124925 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frede...
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Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124925 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frederick Frahm #725690. Published by Frederick Frahm (A0.1124925). Frederick Frahm’s Epiphany Abstract considers the following text from an Epiphany hymn by Philipp Nicolai: How brightly shines the Morning Star! The nations see and hail afar the light in Judah shining. Thou David’s son of Jacob’s race, The Bridegroom, and the King of grace, for thee our hearts are pining! Lowly, holy, great and glorious, thou victorious Prince of graces, filling all the heavenly places! One of 10 similar works in a series.
$9.99
Ash Wednesday Abstract
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Organ
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INTERMEDIATE
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Frederick Frahm
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Ash Wednesday Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124929 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frede...
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Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124929 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frederick Frahm #725694. Published by Frederick Frahm (A0.1124929). Frederick Frahm’s Ash Wednesday Abstract considers the following text from the Book of Common Prayer: …Remember that you are dust; and to dust you shall return… One of 10 similar works in a series.
$9.99
Christmas Abstract
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Organ
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INTERMEDIATE
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Christmas
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Frederick Frahm
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Christmas Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124918 Composed by Frederick Frahm. 20th Century,Christian,Christmas. Individual part. 6 pa...
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Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124918 Composed by Frederick Frahm. 20th Century,Christian,Christmas. Individual part. 6 pages. Frederick Frahm #725675. Published by Frederick Frahm (A0.1124918). Frederick Frahm’s Christmas Abstract considers the following text from an anonymous 18th century German hymn: Now are the days fulfilled, God’s Son is manifested, Now His great majesty In human flesh is vested. One of 10 similar works in a series.
$9.99
Easter Abstract
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Organ
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INTERMEDIATE
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Frederick Frahm
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Easter Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124937 Composed by Frederick Frahm. 20th Century,Christian,Easter. Individual part. 6 pages...
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Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124937 Composed by Frederick Frahm. 20th Century,Christian,Easter. Individual part. 6 pages. Frederick Frahm #725708. Published by Frederick Frahm (A0.1124937). One of the composer’s 10 abstract works for organ intended for liturgy and concert. This one is for performance at the Easter Vigil or whenever the dry bones lesson might be read. The Lord said to me: Mortal, prophesy to these bones, and say to them, “I will cause breath to enter you, and you shall live; and you shall know that I am the Lord.†Ezekiel 37.
$9.99
Corpus Christ Abstract
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Organ
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INTERMEDIATE
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Frederick Frahm
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Corpus Christ Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124948 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 6 pages. Frede...
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Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124948 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 6 pages. Frederick Frahm #725719. Published by Frederick Frahm (A0.1124948). Frederick Frahm’s Corpus Christi Abstract features the hymn tune ‘Picardy’: Lord of Lords, in human vesture, In the body and the blood; He will give to all the faithful His own self for heavenly food. Liturgy of St. James One of 10 similar works in a series.
$9.99
All Saints Abstract
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Organ
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INTERMEDIATE
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Frederick Frahm
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All Saints Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124949 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frede...
(+)
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124949 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frederick Frahm #725720. Published by Frederick Frahm (A0.1124949). Frederick Frahm’s All Saints Abstract considers the following text found on a grave stone in the church yard at St. Mary’s Platt, Kent: In loving memory of Frank Walter Hall Died 2nd Sept. 1929, age 21 …Until the Day break… One of 10 similar works in a series.
$9.99
Prelude (The Abstract Number 2)
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Piano solo
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INTERMEDIATE/ADVANCED
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Friedrich Stern
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Prelude
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Vicente Trompieri
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1015772 Composed by Friedrich Stern. Concert,Contemporary,Instructional,Standards. Score. 3 pages. Vicent...
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Piano Solo - Level 4 - Digital Download SKU: A0.1015772 Composed by Friedrich Stern. Concert,Contemporary,Instructional,Standards. Score. 3 pages. Vicente Trompieri #5019383. Published by Vicente Trompieri (A0.1015772). A prelude.
$2.00
Ascension Abstract
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Organ
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INTERMEDIATE
#
Frederick Frahm
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Ascension Abstract
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Frederick Frahm
#
SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124941 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 6 pages. Frede...
(+)
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124941 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 6 pages. Frederick Frahm #725712. Published by Frederick Frahm (A0.1124941). “…as they were watching, he was lifted up, and a cloud took him out of their sight…†Acts of the Apostles 1:9 One of 10 similar works in a series.
$9.99
Pentecost Abstract
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Organ
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INTERMEDIATE
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Frederick Frahm
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Pentecost Abstract
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Frederick Frahm
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SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124945 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frede...
(+)
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124945 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frederick Frahm #725716. Published by Frederick Frahm (A0.1124945). One of 10 similar works in a series, this one for the Feast of Pentecost. “You send forth your Spirit, and all things are created; and so you renew the face of the earth….†Psalm 104:31.
$9.99
Trinity Abstract
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Organ
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INTERMEDIATE
#
Frederick Frahm
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Trinity Abstract
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Frederick Frahm
#
SheetMusicPlus
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124946 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frede...
(+)
Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1124946 Composed by Frederick Frahm. 20th Century,Christian. Individual part. 7 pages. Frederick Frahm #725717. Published by Frederick Frahm (A0.1124946). One of 10 similar works in a series, this one for the Feast of the Holy Trinity. Trinity sacred, unity unshaken; Deity perfect, giving and forgiving, Light of the angels, Life of the forsaken, Hope of all living. Sarum Office Hymn, 10th Century.
$9.99
Prelude (The Abstract Number 1)
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Piano solo
#
INTERMEDIATE
#
Friedrich Stern
#
Prelude
#
Vicente Trompieri
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1015765 Composed by Friedrich Stern. Concert,Contemporary,Instructional,Standards. Score. 2 pages. Vicent...
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1015765 Composed by Friedrich Stern. Concert,Contemporary,Instructional,Standards. Score. 2 pages. Vicente Trompieri #5017563. Published by Vicente Trompieri (A0.1015765). A prelude .
$2.00
Concerto grosso in E minor op. 6 no. 3
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String Quartet: 2 violins, viola, cello
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Classical
#
George Frideric Handel
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Adrian Gagiu
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Concerto grosso in E minor op.
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - Digital Download SKU: A0.1150516 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 46 pages....
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String Quartet String Quartet - Digital Download SKU: A0.1150516 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 46 pages. Adrian Gagiu #750692. Published by Adrian Gagiu (A0.1150516). Handel’s great set of 12 Concerti grossi (= Grand Concertos, in the first edition) op. 6 are somehow a bit related in spirit, through their power and diversity, with Beethoven’s string quartets. Therefore, here they are arranged for the more ‘abstract’ and ‘timeless’ medium of the string quartet, allowing also for an addition to the repertoire of the respective ensembles. Articulation, tempo and dynamics indications were specified or added where needed, and all the trills were indicated to start with the upper auxiliary note, not only according to the Baroque performance practice but also fitting to the melodic contour. The movements of Concerto grosso in E minor, op. 6 no. 3: 1. Larghetto – a serious sarabande 2. Andante – a tragic fugato, reminding of J.S. Bach’s style (and of the theme of D. Scarlatti’s so-called ‘Cat Fugue’) 3. Allegro – stern, Italianate and a bit strange 4. Polonaise (Andante) – pastoral, yet courtly, in G major 5. Allegro, ma non troppo – serious again, with some surprises. Total duration 10 min 30 sec. The mp3 audio clip is the fifth movement. Performing Rights Organization: SOCAN.
$20.00
Intermezzo Op.92 N.3 for Double Reed Quintet
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Max Reger
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Cristiano Vecchi
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Intermezzo Op.92 N.3 for Doubl
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Cristiano Vecchi
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.963351 Composed by Max Reger. Arranged by Cristiano Vec...
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Woodwind Ensemble,Woodwind Quintet Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.963351 Composed by Max Reger. Arranged by Cristiano Vecchi. 20th Century,Instructional,Romantic Period,Sacred,Standards. 23 pages. Cristiano Vecchi #4835811. Published by Cristiano Vecchi (A0.963351). Version for Double Reed Quintet : Oboes 1&2 - English Horn - Bassoons 1&2 .Duration: 4'32'' .This tender and nostalgic Intermezzo follows the first abstract Fugue in the Suite for Organ Op.92 (1905) by Max Reger, masterwork of the late Romanticism that anticipates so many trends of the Expressionism period: loss of the tonal sense, exasperating contrasts, giant spots of vibrating timbrical color. Plus, the all-pervading memories and attitudes of the baroque period (specially the Bach's lesson) give to this music an irresistible charme, emotional and intellectual. SCORE and PARTS. MP3 also purchasable on this website.
$6.99
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestra
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ADVANCED
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #94204...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Intermezzo Op.92 N.3 for Double Reed Quintet MP3
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Max Reger
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Cristiano Vecchi
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Intermezzo Op.92 N.3 for Doubl
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Cristiano Vecchi
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SheetMusicPlus
Bassoon,English Horn,Oboe - Digital Download SKU: A0.1066280 Composed by Max Reger. Arranged by Cristiano Vecchi. 20th Century,Instructional,Romantic Per...
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Bassoon,English Horn,Oboe - Digital Download SKU: A0.1066280 Composed by Max Reger. Arranged by Cristiano Vecchi. 20th Century,Instructional,Romantic Period,Sacred,Standards. Full Performance. Duration 275. Cristiano Vecchi #4835823. Published by Cristiano Vecchi (A0.1066280). Version for Double Reed Quintet : Oboes 1&2 - English Horn - Bassoons 1&2 .Duration: 4'32'' .This tender and nostalgic Intermezzo follows the first abstract Fugue in the Suite for Organ Op.92 (1905) by Max Reger, masterwork of the late Romanticism that anticipates so many trends of the Expressionism period: loss of the tonal sense, exasperating contrasts, giant spots of vibrating timbrical color. Plus, the all-pervading memories and attitudes of the baroque period (specially the Bach's lesson) give to this music an irresistible charme, emotional and intellectual.SCORE and PARTS also purchasable on this website.
$1.99
Toccata 3
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Piano solo
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ADVANCED
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Contemporary
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Glenn Hardy
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Toccata 3
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Hardymuse Publications
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1024522 Composed by Glenn Hardy. 20th Century,Concert,Contemporary. Score. 17 pages. Hardymuse Publicatio...
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Piano Solo - Level 5 - Digital Download SKU: A0.1024522 Composed by Glenn Hardy. 20th Century,Concert,Contemporary. Score. 17 pages. Hardymuse Publications #4370076. Published by Hardymuse Publications (A0.1024522). A fast abstract toccata for piano for advanced players.
$10.00
Symphony No. 3 in A minor, op. 17
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Orchestra
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ADVANCED
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Contemporary
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #94126...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Tro Hatal (Navajo Song of the Rain-Chant)
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Choral 3-part
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INTERMEDIATE/ADVANCED
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Brian Cockburn
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Tro Hatal
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Brian Cockburn
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SheetMusicPlus
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.1007965 Composed by Brian Cockburn. Contemporary,World. Octavo. 12 pages. Brian Cockburn #4310207...
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Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.1007965 Composed by Brian Cockburn. Contemporary,World. Octavo. 12 pages. Brian Cockburn #4310207. Published by Brian Cockburn (A0.1007965). Available from: https://www.sheetmusicplus.com/title/tro-hatal-navajo-song-of-the-rain-chant-digital-sheet-music/211... This is a simplified arrangement of a work premiered at TMEA and subsequently published. This new, easier arrangement, is an excellent choice for women's or good children's chorus SSA. Tro Hatal is a free setting of a Navajo verse. Not intended to be a setting of the chant melody, it, however, is a reflection of the mystery and sacredness of the text.The flute, and rainstick provide support and are unique voices in the texture. The text is also abstracted to create the sound of rain. The recording is from the earlier version of this new simpler score.
$1.99
Op. 45, No. 15: À qui m’avez vous donné? from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 15: À qui m’ave
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer Music Company - Digital #8492-15E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-15E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
David W. Solomons: Shem Ru’ahh for clarinet solo
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Clarinet
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INTERMEDIATE
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David Warin Solomons
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David W. Solomons: Shem Ru’a
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Musik Fabrik Music Publishing
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SheetMusicPlus
Clarinet Solo - Level 3 - Digital Download SKU: A0.533473 Composed by David Warin Solomons. Contemporary,Jewish,Standards. Individual part. 3 pages. Musi...
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Clarinet Solo - Level 3 - Digital Download SKU: A0.533473 Composed by David Warin Solomons. Contemporary,Jewish,Standards. Individual part. 3 pages. Musik Fabrik Music Publishing #2994075. Published by Musik Fabrik Music Publishing (A0.533473). Shem Ru’ahh for clarinet solo by David W SolomonsThe significance of the title relates to the fact that the clarinet is a wind instrument of great importance in Jewish culture, and the music reflects a somewhat Westernised view of this culture. The word “ â€×©× (shem) is often translated as “nameâ€, although it is not as abstract as the modern meaning of the word “name†because it also holds the underlying meaning of the name – for example one might call a person “Adam†and think of it as an abstract sequence of letters, which just happens to be a name, but the underlying meaning, or “shemâ€, is that the first Adam was so called because he came from out of the ground (“adamahâ€). The word “ רוח †(ru’ahh) means wind, but is often translated as “spiritâ€. The modern meaning of “spirit†evokes something incorporeal, but the word ru’ahh represents the very essence of what you are or what God is. In the case of God, it is a mighty rushing wind which fills the world and is everywhere. The significance of the title is therefore: The “name is the spirit†or rather, more literally, “the significance is the windâ€.
$7.75
Colores de un otoño incipiente
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Piano solo
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INTERMEDIATE
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Juan MarÃa Solare
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clipboard-write
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Colores de un otoño incipient
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructiona...
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Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 15 pages. Juan Maria Solare #350886. Published by Juan Maria Solare (A0.742752). Colores de un otoño incipiente -- Colors of an incipient autumn seven somewhat abstract pieces for piano Recording of Colores de un otoño incipiente - piano in several platforms Colores de un otoño incipiente -- on Spotify In this work, an idea that has haunted me for a long time crystallizes: that the titles of the individual pieces are read like lines of a poem. Colores de un otoño incipiente Declina el dÃa. Cobriza de hojarasca, la tierra aguarda. Inocencia Apergaminada por las largas vigilias. Frugal ante la desmesura, Se resignó a lo inconcluso Y dejó un hueco de luz en esta nada. Colors of an incipient autumn The day declines. Coppery with old leaves, the earth awaits. Innocence Parched by the long vigils. Frugal in the face of excess, He resigned himself to the unfinished And he left a hole of light in this nothingness. Such a poem alludes without great subtlety to decadence and aging. The title Apergaminada por las largas vigilias is taken from a poem by Pedro Lastra. Y dejó un hueco de luz en esta nada comes from a micropoem attributed to Alejandro Güerri, written in memory of Javier Adúriz. This seventh piece, transparent and delicate, pictures a being definitively transformed into light. The idea of desmesura (excess) arises from the prologue by Javier Adúriz to his book Solos de conciencia (1985): Faced with the excess of death, consciousness perceives the weakness of its willful affirmation, the one for which it feels itself unique and safe from all decrepitude. Adúriz was one of the fundamental figures in my artistic training. And apparently he still is. Musically, this cycle of works abounds in harmony of chords by fourths in a minimalist neoclassical aesthetic. The way of working texturally with the piano as an instrument - my instrument - highlights the pedal, the resonances, the third dimension of sound. These seven somewhat abstract pieces were composed at the end of 2019 in and around Bremen, in several cases with my new-born daughter Laura in my arms, trying to put her at to sleep and staying asleep. This explains the cautious nature of the music and its prudent dynamics that never reach a mezzoforte. There were several unsuccessful attempts to release this recording (initially planned for September 2020, at the beginning of autumn in the northern hemisphere). Finally, the album will be released (on Spotify and other streaming platforms) on 22 April 2022, coinciding with what would be my father's 103rd birthday. It is also autumn but in the southern hemisphere. Recorded on a Steinway B grand piano (serial number: 568208) at the Musikschule Bremen (Germany) with two Neumann KM-184 microphones. Recording and mastering technician: Alexander Derben. For the artwork, the impressive photographer and visual storyteller Leon Drago, from London, has kindly authorised the use of his photograph Pathway, The Garden House and Pergola, Hampstead Heath extension, London. The recording of Colores de un otoño incipiente (with the composer on piano) can be found here: Colores de un otoño incipiente - piano
$5.00
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