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Meditation on "Veni, Emmanuel" — trombone and piano or organ
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Trombone and Piano
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INTERMEDIATE
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Plainchant melody
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Todd Marchand
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Meditation on "Veni, Emmanuel"
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Con Spirito Music
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SheetMusicPlus
Piano,Trombone - Level 3 - Digital Download SKU: A0.726102 Composed by Plainchant melody. Arranged by Todd Marchand. Advent,Christian,Sacred. Score and p...
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Piano,Trombone - Level 3 - Digital Download SKU: A0.726102 Composed by Plainchant melody. Arranged by Todd Marchand. Advent,Christian,Sacred. Score and part. 10 pages. Con Spirito Music #6092177. Published by Con Spirito Music (A0.726102). “O Come, O Come Emmanuel†are the opening words of John Mason Neale’s (1818-1866) translation of the Medieval text, “Veni, Emmanuel,†with music arranged by Thomas Helmore (1811-1890), for The Hymnal Noted (London, 1856). The text of this most famous of Advent hymns is taken from various “‘O’ Antiphons,†verses sung or recited before and after the Magnificat during the evening Vespers service in the last week of Advent. Each antiphon is a name of Christ, and together they echo the foretelling of the long-expected Messiah by the prophet Isaiah.The origin of the music is uncertain. Some claim it to be from a 15th-century French processionale (hymnal, liturgical manual) for Franciscan nuns; others believe it to be of earlier, eighth-century Gregorian plainsong origins.This arrangement features both traditional and contemporary harmonies and a meditative original introduction prior to the opening presentation of the melody by trombone, which is echoed in countermelodies in later presentations.Includes both bass clef and Bb treble clef solo parts.©Copyright 2020 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$6.00
Before And After Taken
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Piano, Voice
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Charles K
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Before And After Taken
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Johns Hopkins University Sheridan L - - - Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Composed by Charles K. Harris. Portraits, Diseases, Death, Debts, Money, Deception, Marriage, Politics, Grover Cleveland, Shopping, Courtship, Banks, Alcoholic ...
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Composed by Charles K. Harris. Portraits, Diseases, Death, Debts, Money, Deception, Marriage, Politics, Grover Cleveland, Shopping, Courtship, Banks, Alcoholic beverages. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan L - - - Johns Hopkins University Sheridan Libraries
$5.99
Alto Sax - "And Can It Be?" Theme and Variations
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Alto Saxophone and Piano
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INTERMEDIATE
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Sacred music
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Alto Sax - "And Can It Be?" Th
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Dan Cutchen Music
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and publishe...
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E
$7.00
Jacques Leguerney: String Quartet in D for two violins, viola and cello
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quar
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95
Arnage for trombone and band (score)
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Concert band
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INTERMEDIATE
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Contemporary
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Drake Mabry
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Arnage for trombone and band
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Drake Mabry
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.799419 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 55 pages. Drake Mabry #5167...
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Concert Band - Level 3 - Digital Download SKU: A0.799419 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 55 pages. Drake Mabry #516703. Published by Drake Mabry (A0.799419). Arnage is a commission, a 1991 Commande d'Etat from the French government. The work is named after the town in which it was premiered. The first movement is slow and atmospheric with the solo trombone weaving in and out of the accompaniment. Despite a short interlude where the tempo picks up followed by a cadenza, the piece returns to the original quiet and atmospheric nature of the beginning. The second movement is vigorous and dynamic. The animated trombone is punctuated by rhythmic comments from the ensemble. The work winds down to a quiet passage before being taken back by the vigorous ensemble. This continues to the wild coda to the end. The duration is 12 minutes. This is a manuscript score, thus the reduced price.The Premiere was by Pascal Renou, trombone, with the Harmonie Municipal d’Arnage conducted by Francis Rouillard in Arnage, France on June 12, 1992.
$9.99
Arnage for trombone and band (parts)
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Concert band
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INTERMEDIATE
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Contemporary
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Drake Mabry
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Arnage for trombone and band
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Drake Mabry
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.799420 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 77 pages. Drake Mabry #5167...
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Concert Band - Level 3 - Digital Download SKU: A0.799420 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 77 pages. Drake Mabry #516755. Published by Drake Mabry (A0.799420). Arnage is a commission, a 1991 Commande d'Etat from the French government. The work is named after the town in which it was premiered. The first movement is slow and atmospheric with the solo trombone weaving in and out of the accompaniment. Despite a short interlude where the tempo picks up followed by a cadenza, the piece returns to the original quiet and atmospheric nature of the beginning. The second movement is vigorous and dynamic. The animated trombone is punctuated by rhythmic comments from the ensemble. The work winds down to a quiet passage before being taken back by the vigorous ensemble. This continues to the wild coda to the end. The duration is 12 minutes. This is a manuscript score, thus the reduced price.The Premiere was by Pascal Renou, trombone, with the Harmonie Municipal d’Arnage conducted by Francis Rouillard in Arnage, France on June 12, 1992.
$9.99
Les cloches de Rouen for violin, bassoon and piano
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Contemporary
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David Warin Solomons
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Les cloches de Rouen for violi
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David Warin Solomons
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SheetMusicPlus
Bassoon,Piano,Violin - Level 4 - Digital Download SKU: A0.576480 Composed by David Warin Solomons. Contemporary. 15 pages. David Warin Solomons #26919. P...
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Bassoon,Piano,Violin - Level 4 - Digital Download SKU: A0.576480 Composed by David Warin Solomons. Contemporary. 15 pages. David Warin Solomons #26919. Published by David Warin Solomons (A0.576480). This is my composition from several movements written by various composer members of the Delian Society to illustrate the novel Le Horla by Guy de Maupassant Details, pdf files and mp3 files of the whole suite can be found at:https://dwsolo.com/le-horla-2012-after-the-novel-by-guy-de-maupassant/ This movement is introduced by the narrator as follows: On the left, down yonder, lies Rouen, populous Rouen with its blue roofs massing under pointed, Gothic towers. Innumerable are they, delicate or broad, dominated by the spire of the cathedral, full of bells which sound through the blue air on fine mornings, sending their sweet and distant iron clang to me, their metallic sounds, now stronger and now weaker, according as the wind is strong or light. The protagonist is still in a happy mood, before the madness of Le Horla descends upon him. The sogetto cavato on the name of Guy de Maupassant, used in all of the compositions, is taken as part of the Dorian scale initially, to be transmogrified halfway through into the major scale, representing the optimistic mood of our anti-hero at the outset as he listens to the cheerful bells of Rouen and thinks all is well with his world. In counterpoint to the sogetto cavato you can also hear the first quarter of the hourly chime of Rouen Cathedral played on the bassoon, both themes interweaving playfully in four time, in seven time and in two-two-three time throughout the movement. The misleadingly cheerful scene is set.
$9.00
Carol of the Birds - Flute and Piano
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Flute and Piano
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INTERMEDIATE
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Christmas
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Traditional
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Anne L Christopherson GRSM ARC
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Carol of the Birds - Flute and
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Music-Scores.com
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SheetMusicPlus
Flute,Piano - Level 3 - Digital Download SKU: A0.721005 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert. Score an...
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Flute,Piano - Level 3 - Digital Download SKU: A0.721005 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert. Score and part. 3 pages. Music-Scores.com #3872335. Published by Music-Scores.com (A0.721005). Carol of the Birds: traditional, beautiful Catalan carol, which was played by Pablo Casals before every concert to symbolise his yearning for Catalonia after he had been exiled.This is for Flute and Piano, and is in C minor.Playing time up to 3 minutes, depending how slow, and whether repeats are taken.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Carol of the Birds - Flute and Piano
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Flute and Piano
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INTERMEDIATE
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Christmas
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Sacred music
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Traditional
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Anne L Christopherson GRSM ARC
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Carol of the Birds - Flute and
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Music-Scores.com
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SheetMusicPlus
Flute,Piano - Level 3 - Digital Download SKU: A0.721081 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. S...
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Flute,Piano - Level 3 - Digital Download SKU: A0.721081 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. Score and part. 3 pages. Music-Scores.com #3878643. Published by Music-Scores.com (A0.721081). Carol of the Birds: traditional, beautiful Catalan carol, which was played by Pablo Casals before every concert to symbolise his yearning for Catalonia after he had been exiled.This is for Flute and Piano.Playing time up to 3 minutes, depending how slow, and whether repeats are taken.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Carol of the Birds - Alto Sax and Piano
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Alto Saxophone and Piano
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INTERMEDIATE
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Christmas
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Sacred music
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Traditional
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Anne L Christopherson GRSM ARC
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Carol of the Birds - Alto Sax
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Music-Scores.com
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.721075 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,...
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.721075 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. Score and part. 3 pages. Music-Scores.com #3878623. Published by Music-Scores.com (A0.721075). Carol of the Birds: traditional, beautiful Catalan carol, which was played by Pablo Casals before every concert to symbolise his yearning for Catalonia after he had been exiled.This is for Alto Sax and Piano.Playing time up to 3 minutes, depending how slow, and whether repeats are taken.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Carol of the Birds - Tenor Sax and Piano
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Tenor Saxophone and Piano
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INTERMEDIATE
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Christmas
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Sacred music
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Traditional
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Anne L Christopherson GRSM ARC
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Carol of the Birds - Tenor Sax
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Music-Scores.com
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SheetMusicPlus
Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.721135 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert...
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Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.721135 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. Score and part. 3 pages. Music-Scores.com #3885405. Published by Music-Scores.com (A0.721135). Carol of the Birds: traditional, beautiful Catalan carol, which was played by Pablo Casals before every concert to symbolise his yearning for Catalonia after he had been exiled.This is for Tenor Sax and Piano.Playing time up to 3 minutes, depending how slow, and whether repeats are taken.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Carol of the Birds - Violin and Piano
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Violin and Piano
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INTERMEDIATE
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Christmas
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Sacred music
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Traditional
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Anne L Christopherson GRSM ARC
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Carol of the Birds - Violin an
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Music-Scores.com
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SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.721003 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. ...
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Piano,Violin - Level 3 - Digital Download SKU: A0.721003 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. 3 pages. Music-Scores.com #3872329. Published by Music-Scores.com (A0.721003). Carol of the Birds: traditional, beautiful Catalan carol, which was played by Pablo Casals before every concert to symbolise his yearning for Catalonia after he had been exiled.This is for Violin and Piano, and is in G minor.Playing time up to 3 minutes, depending how slow, and whether repeats are taken.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Carol of the Birds - Violin and Piano
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Violin and Piano
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Christmas
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Sacred music
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Traditional
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Anne L Christopherson GRSM ARC
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Carol of the Birds - Violin an
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Music-Scores.com
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SheetMusicPlus
Piano,Violin - Digital Download SKU: A0.721141 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. 3 pages. M...
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Piano,Violin - Digital Download SKU: A0.721141 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. 3 pages. Music-Scores.com #3885419. Published by Music-Scores.com (A0.721141). Carol of the Birds: traditional, beautiful Catalan carol, which was played by Pablo Casals before every concert to symbolise his yearning for Catalonia after he had been exiled.This is for Violin and Piano.Playing time up to 3 minutes, depending how slow, and whether repeats are taken.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Cello - "And Can It Be?" Theme and Variations
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Cello, Piano
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INTERMEDIATE
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Sacred music
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Gospel/Spiritual
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Cello - "And Can It Be?" Theme
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Dan Cutchen Music
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SheetMusicPlus
Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. A...
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Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
Tuba solo - "And Can It Be?" Theme and Variations
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Tuba
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INTERMEDIATE
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Sacred music
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Tuba solo - "And Can It Be?" T
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Dan Cutchen Music
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SheetMusicPlus
Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Ar...
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Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Easter,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4285469. Published by Dan Cutchen Music (A0.844352). This arrangement of And Can It Be That I Should Gain? is for tuba solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Tuba - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00To contact Dan Cutchen, go to:Facebook: https://www.facebook.com/merry1722/dancutchen.com: http://www.dancutchen.com/contactAnd Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/7-Qdg7QK.
$6.00
Didn't We
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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Glen Campbell
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John Fries
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Didn't We
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1198298 By Glen Campbell. By Jimmy Webb. Arranged by John Fries. 20th Century,Pop,Standards...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1198298 By Glen Campbell. By Jimmy Webb. Arranged by John Fries. 20th Century,Pop,Standards. Score. 2 pages. John Fries #797487. Published by John Fries (A0.1198298). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. American vocalist Barbra Streisand recorded a version of Didn't We in 1972 for her second live album, Live Concert at the Forum. It was originally performed at Four for McGovern, a concert benefitting George McGovern's ultimately unsuccessful 1972 presidential campaign. Streisand's monologue before and after the performance consisted of her acting as if she had taken marijuana.
$4.99
Veillée à Crostand (Campfire in Crostand)
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Ralph Coleman
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Veillée à Crostand
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Ralph Coleman
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SheetMusicPlus
Large Ensemble B-Flat Clarinet,B-Flat Trumpet,B-Flat Tuba,Bass Clarinet,Bass Trombone,Bass Voice,Bassoon,Drum Set,E-Flat Alto Saxophone,E-Flat Baritone Saxophon...
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Large Ensemble B-Flat Clarinet,B-Flat Trumpet,B-Flat Tuba,Bass Clarinet,Bass Trombone,Bass Voice,Bassoon,Drum Set,E-Flat Alto Saxophone,E-Flat Baritone Saxophone,E-Flat Clarinet,Euphonium,Flute,Glockenspiel,Horn,Maracas,Oboe,Piccolo,Tenor Saxophone,Timpani,Wind Chimes - Level 3 - Digital Download SKU: A0.1127760 Composed by Ralph Coleman. Contest,Festival,Folk,Traditional. Score and parts. 64 pages. Ralph Coleman #728367. Published by Ralph Coleman (A0.1127760). Veillée à Crostand (Campfire in Crostand) is a lively piece for wind ensemble, with a difficulty grade which makes it perfectly accessible to collegiate wind ensembles. Its inspiration is taken from a typical day at a scout camp, starting with hoisting the flag and a calm moment in early morning, before the real adventures begin. After walking in the nature and enjoying its beauty, the adventures continue and rise up to the finale with songs and rejoicing around the campfire.
$70.00
Crossing Jordan: Three Spirituals for flute, piano and cello
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Sacred music
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Maria Thompson Corley
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Maria Thompson Corley
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Crossing Jordan: Three Spiritu
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Maria Thompson Corley
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SheetMusicPlus
Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged...
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Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 31 pages. Maria Thompson Corley #864728. Published by Maria Thompson Corley (A0.1272503). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me. Please note that the YouTube version uses a clarinet. The flute version is slightly different, to accommodate the difference in range.P.S. I’d love to hear that version, if you have a recording of it.
$30.00
"His Name So Sweet" from Crossing Jordan for clarinet, piano and cello
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Spiritual
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Maria Thompson Corley
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"His Name So Sweet" from Cross
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Maria Thompson Corley
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SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1284045 Composed by Spiritual. Arranged by Mar...
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Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1284045 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Christian,Sacred,Traditional. 17 pages. Maria Thompson Corley #875217. Published by Maria Thompson Corley (A0.1284045). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me.
$15.00
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