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You've selected:
It Means Nothing
Sheetmusic to print
25 sheet music found
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1
Until it means nothing
Guitar - Digital Download SKU: A0.1071845 Composed by William Bishop. Contemporary.…
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Guitar - Digital Download SKU: A0.1071845 Composed by William Bishop. Contemporary. Full Performance. Duration 145. William Bishop #4350957. Published by William Bishop (A0.1071845).
$1.99
1.82 €
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William Bishop
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Until it means nothing
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William Bishop
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SheetMusicPlus
Until it means nothing
Piano solo
Piano Solo - Digital Download SKU: A0.1025146 Composed by William Bishop. Contempor…
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Piano Solo - Digital Download SKU: A0.1025146 Composed by William Bishop. Contemporary. Score. 1 pages. William Bishop #4351017. Published by William Bishop (A0.1025146).
$1.99
1.82 €
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Piano solo
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William Bishop
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Until it means nothing
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William Bishop
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SheetMusicPlus
Love
Piano, Voice
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.841727 Composed by Andrew Mc…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.841727 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 10 pages. Andrew Mc Donald (Macka Records) #3473873. Published by Andrew Mc Donald (Macka Records) (A0.841727). Love is a song about what the bible says love is. It says that love is important. If I give all I have to the poor or can work miracles and move mountains with out love then it means nothing. Love is patient and it is kind etc, not what the world says love is all about.
$4.99
4.57 €
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Piano, Voice
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Andrew Mc Donald
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love then it means nothing
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Love
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Andrew Mc Donald
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SheetMusicPlus
It Means Nothing by Stereophonics - Piano/Vocal/Guitar, Singer Pro
Piano, Vocal and Guitar
Performed by: Stereophonics: It Means Nothing Digital Sheetmusic plus an interactive, down…
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Performed by: Stereophonics: It Means Nothing Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar;Singer Pro, instruments: Voice;Piano;Guitar; 6 pages -- Alternative Pop/Rock~~Indie Rock~~Pop Rock~~British Trad Pop
$5.50
5.04 €
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Piano, Vocal and Guitar
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Stereophonics
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Piano/Vocal/Guitar, Singer Pro
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Musicnotes
Il mondo che non c'è
Piano solo
Piano Solo - Digital Download SKU: A0.976869 Composed by Monica Bergo. Contemporary…
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Piano Solo - Digital Download SKU: A0.976869 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3239709. Published by Monica Bergo (A0.976869). 2017 Holiday Contest Entry The world that there isn’t How did Dante one day in the hell and after I return Down in the world that there is not In pieces of ice It reduced your heart you walk, walk, do not you think the pain of lost things, caresses denied the cold that you feel and clouds the mind At What you cling and where are you going? it is dark at night and you think only that Close the eyes it means to die in this station might end the life,the joy, but which ? future and that what you have inside It makes you tougher you mirrors, reflect in the void of others Look at them in the eye precipitates, reel this is the life in the world that there is no and while run after a blind butterfly and meanwhile look back on fairy tale ever read and you search the laughter, games and friends return back, hope of happy days everyone is inside his sick world and that who you are looking for is not there, is lost only shadows lurking and the moon that shines but she is not always that here in the world that there is no and while you get lost in 1000 miseries and then you start up into the nothingness that awaits if you touch people they hastens and takes offense and lengthens the step that knows where it goes you don’t look, you don’t dare don’t hope and don’t you think and the snow falls and while you pray that this god distracted realizes that exist a deeper world what light does not but your soul is not dead yet walk, walk and she opens the door that goes to the world that out shines there is still a spark of love that awaits and here it is that rises the charm the flower is reborn fear and fright heat that feeds sun is shining and with its rays protects, defends and while you mirrors ,with the sun in your eyes and while you look back the dark of before there is that girl that inside the night smiles, turns and then goes away ... you look at her, until she is a distant shadow Turn around and answer to life calling As Dante did one day in the hell and after I return Down in the world that there is no ... Monica Bergo
$3.99
3.66 €
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Piano solo
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Monica Bergo
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Il mondo che non c'è
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Monica Bergo
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SheetMusicPlus
If I Can't Have You
Violin, Cello (duet)
Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.526235 By Shawn…
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Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.526235 By Shawn Mendes. By Nate Mercereau, Scott Harris, Shawn Mendes, and Teddy Geiger. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 8 pages. Sarah Cellobat Chaffee #6091581. Published by Sarah Cellobat Chaffee (A0.526235). If I Can't Have You, the hit single from Canadian singer Shawn Mendes, has reached the top five on the pop charts in 11 different countries, and it's obvious why - this song is upbeat, fun, and sing-along-able, and once you listen to it, its catchy hook won't get out of your head! With its signature lyric Everything means nothing if I can't have you, this love song is sure to be requested for wedding ceremonies, receptions, and cocktail hour, and will also be great for parties, corporate events, solo & ensemble contests and any other occasion in need of some good vibes. This arrangement for violin and cello duet captures the soul of the original song with its lyrical melody lines, dynamic variations, and driving beat, for a chart that's just as much fun to play as it is to listen to! This is an intermediate level arrangement that will be playable for students and easily sightreadable for professionals. Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat
$9.99
9.15 €
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Violin, Cello (duet)
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Shawn Mendes
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If I Can't Have You
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Sarah Cellobat Chaffee
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SheetMusicPlus
If I Can't Have You
String Trio: 2 violins, cello
String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.526097 By Shawn Mende…
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String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.526097 By Shawn Mendes. By Nate Mercereau, Scott Harris, Shawn Mendes, and Teddy Geiger. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 12 pages. Sarah Cellobat Chaffee #4795147. Published by Sarah Cellobat Chaffee (A0.526097). *INSTRUMENTATION: 2 VIOLINS & CELLO*If I Can't Have You, the hit single from Canadian singer Shawn Mendes, has reached the top five on the pop charts in 11 different countries, and it's obvious why - this song is upbeat, fun, and sing-along-able, and once you listen to it, its catchy hook won't get out of your head! With its signature lyric Everything means nothing if I can't have you, this love song is sure to be requested for wedding ceremonies, receptions, and cocktail hour, and will also be great for parties, corporate events, solo & ensemble contests and any other occasion in need of some good vibes. This arrangement for two-violin and cello trio captures the soul of the original song with its lyrical melody lines and driving syncopated beat, and also adds layers of beautiful harmonies and some back-and-forth between the parts for a chart that's just as much fun to play as it is to listen to! This is an intermediate level arrangement that will be easily learnable for students and sightreadable for professionals. (There are a few double stops - all easy 5ths in the cello part, and all against an open string in the v2 part.) Sarah Cellobat Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their Deuces Are Wild residency at The Park MGM Theater, and she regularly performs at Allegiant Stadium as a member of the house band for the Las Vegas Raiders football team. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a world-renowned 14-piece dance band, and she plays regularly for Premiere Wedding Music, Bella Electric Strings, and the Femmes Of Rock. Sarah has performed and recorded with many other artists including Halsey, Disturbed, Mötley Crüe, Celine Dion, Michael Bublé, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at: http://www.cellobat.com http://www.instagram.com/cellobat http://www.youtube.com/c/SarahCellobatChaffee
$14.99
13.73 €
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String Trio: 2 violins, cello
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Shawn Mendes
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If I Can't Have You
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Sarah Cellobat Chaffee
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SheetMusicPlus
In My Soul! - SSA
Choral 3-part
SSA chorus - Digital Download SKU: C7.CGE491 Composed by Mary Lynn Lightfoot. Gener…
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SSA chorus - Digital Download SKU: C7.CGE491 Composed by Mary Lynn Lightfoot. General. Sing! Octavo. 12 pages. Chorister's Guild - Digital #CGE491. Published by Chorister's Guild - Digital (C7.CGE491). From the first note of the pulsating piano to the final statement of the infectious motive, this work by Mary Lynn Lightfoot grabs you and won't let you go! Filled with soulful harmonies and spirited melodic lines, In My Soul captures the essence of what it means to be moved by music and how it can reach deep within our souls and lift our hearts the way that nothing else can! Highly recommended!
$2.45
2.24 €
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Choral 3-part
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Mary Lynn Lightfoot
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In My Soul! - SSA
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Chorister's Guild - Digital
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SheetMusicPlus
In My Soul! - SAB
Choral 3-part
SAB chorus - Digital Download SKU: C7.CGE490 Composed by Mary Lynn Lightfoot. Gener…
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SAB chorus - Digital Download SKU: C7.CGE490 Composed by Mary Lynn Lightfoot. General. Sing! Octavo. 12 pages. Chorister's Guild - Digital #CGE490. Published by Chorister's Guild - Digital (C7.CGE490). From the first note of the pulsating piano to the final statement of the infectious motive, this work by Mary Lynn Lightfoot grabs you and won't let you go! Filled with soulful harmonies and spirited melodic lines, In My Soul captures the essence of what it means to be moved by music and how it can reach deep within our souls and lift our hearts the way that nothing else can! Highly recommended!
$2.45
2.24 €
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Choral 3-part
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Mary Lynn Lightfoot
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In My Soul! - SAB
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Chorister's Guild - Digital
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SheetMusicPlus
It Means Nothing
Piano, Vocal and Guitar
By Stereophonics. By Kelly Jones. For piano, voice, and guitar (chords only). Rock. 6 page…
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By Stereophonics. By Kelly Jones. For piano, voice, and guitar (chords only). Rock. 6 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.57 €
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Piano, Vocal and Guitar
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Stereophonics
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It Means Nothing
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
It Means Nothing
Lyrics and Chords
By Stereophonics. Rock. GTRCHD. 3 pages. Published by Hal Leonard - Digital Sheet Music
By Stereophonics. Rock. GTRCHD. 3 pages. Published by Hal Leonard - Digital Sheet Music
$1.99
1.82 €
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Lyrics and Chords
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Stereophonics
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It Means Nothing
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Kelly Jones: It Means Nothing for voice, piano and guitar
Piano, Vocal and Guitar
Instantly printable sheet music by Stereophonics for voice, piano or guitar of MEDIUM skil…
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Instantly printable sheet music by Stereophonics for voice, piano or guitar of MEDIUM skill level. / rock
$6.97
6.39 €
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Piano, Vocal and Guitar
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Kelly Jones
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Virtualsheetmusic
Kelly Jones: It Means Nothing for guitar
Lyrics and Chords
Instantly printable sheet music by Stereophonics for guitar (chords) of MEDIUM skill level…
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Instantly printable sheet music by Stereophonics for guitar (chords) of MEDIUM skill level. / rock
$4.97
4.55 €
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Lyrics and Chords
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Kelly Jones
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Virtualsheetmusic
I. Stravinsky – Serenade in A, Orchestrated by A. Leytush - Score Only
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1374158 Composed by Igor Stravi…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1374158 Composed by Igor Stravinsky. Arranged by A. Leytush. 20th Century. 94 pages. Arkady Leytush #958734. Published by Arkady Leytush (A0.1374158). This 4-part suite is called Serenade in A. This name, chosen by its author, completely exhausts the content of this music and emphasizes the main idea of the composition, as well as the tonality of all parts. Each part provides comprehensive details in this series and has its own title. I emphasize that this is by no means a programmatic essay. The nature of each part and their internal content pushed me to follow my interpretation of each part in the orchestral transcription. 1. Hymne is essentially nothing more than a Hymn of love! His character, sublime above the everyday, is, as it were, raised to the surface and presented in bright, broad strokes as an irrefutable truth. 2. Romanza - I perceive it as a kind of parody of a love romance with the main sentiments and elements inherent in this genre. This is by no means a refutation of love, but only some irony over the false, pretentious way of expressing this feeling. The grotesque character is emphasized whenever possible by the orchestration. 3. Rondoletto - this part, from the very beginning in my orchestration, resembles the multi-voiced play of musicians preparing to play, testing the sound of their instruments, tuning them and playing out. 4. Cadenza Finala - the nature of the music is the union and rapture of love. In my orchestration there can be traced duets of various instruments and orchestra groups such as: a pair of Flutes, a pair of Oboes, Clarinets, Trumpets, Trombones, 1st and 2nd Violins. This feature of the pairs I have chosen should emphasize their relationship and relatedness.
$60.00
54.97 €
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Orchestra
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Igor Stravinsky
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I. Stravinsky – Serenade in A, Orchestrated by A. Leytush - Score Only
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Arkady Leytush
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SheetMusicPlus
Manglar
Large Ensemble Double Bass,Electric Guitar,Marimba,Soprano Saxophone,Trombone,Vibraphone,V…
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Large Ensemble Double Bass,Electric Guitar,Marimba,Soprano Saxophone,Trombone,Vibraphone,Violin - Digital Download SKU: A0.1032590 Composed by Manuel Robles. Arranged by Manuel Robles. 20th Century,Contemporary. Score and parts. 16 pages. Manuel Robles #5020071. Published by Manuel Robles (A0.1032590). A piece that means to incorporate the electric guitar into a chamber setting, replacing the piano rhythmically. It explores the amazing dynamic range of the electric guitar, strings, winds and brass; and their ability to dim out of perception like echoes into a void. ProgramManglar is a piece that seeks to emulate the motion of ripples that are generated by movements in the water around the roots of the tree Manglar (Mangrove). The electric guitar plays a clean and perpetual pedal that seeks to emulate the ripples. The attack is strong while the decay is slow and dims into nothingness, soon to be generated again. This piece makes use of serial techniques to control rhythm, dynamics and pitch, while retaining a sense of tonality.Appropriate for:Chamber performances, high school, college.
$5.99
5.49 €
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Manuel Robles
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Manglar
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Manuel Robles
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SheetMusicPlus
Omnia Mutantur (for SSAA Choir, a cappella)
Choral SSAA
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1033410 Composed by Aaron …
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1033410 Composed by Aaron Lee. 20th Century,A Cappella,Classical,Contemporary,Contest,Festival. Octavo. 16 pages. J. Aaron Lee #638600. Published by J. Aaron Lee (A0.1033410). Omnia Mutantur addresses the ever-present reality of life these days. Everything changes. However, this work intends to affirm for the listener that while things may change, we always adapt to keep up, and that nothing is ever truly lost to change. This work approaches the matter of change, perhaps ironically, via minimalistic techniques and an uplifting perspective. This song is an entirely secular work in Latin. It touches on some minimalist techniques and could be integrated into secondary school music lessons as a means of discussing minimalism and also as a means to introduce students to singing in Latin while avoiding religious ties. This work has been arranged for SSAA choir (a cappella) from the original SATB version and is approximately 4.5 minutes in duration. The choral parts are largely diatonic and should be accessible to most audiences/ensembles. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
$2.49
2.28 €
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Choral SSAA
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Aaron Lee
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Omnia Mutantur
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J. Aaron Lee
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SheetMusicPlus
Omnia Mutantur (for TTBB Choir, a cappella)
Choral TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1033409 Composed by Aaron …
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1033409 Composed by Aaron Lee. 20th Century,A Cappella,Classical,Contemporary,Contest,Festival. Octavo. 16 pages. J. Aaron Lee #638433. Published by J. Aaron Lee (A0.1033409). Omnia Mutantur addresses the ever-present reality of life these days. Everything changes. However, this work intends to affirm for the listener that while things may change, we always adapt to keep up, and that nothing is ever truly lost to change. This work approaches the matter of change, perhaps ironically, via minimalistic techniques and an uplifting perspective. This song is an entirely secular work in Latin. It touches on some minimalist techniques and could be integrated into secondary school music lessons as a means of discussing minimalism and also as a means to introduce students to singing in Latin while avoiding religious ties. This work has been arranged for TTBB choir (a cappella) from the original SATB version and is approximately 4.5 minutes in duration. The choral parts are largely diatonic and should be accessible to most audiences/ensembles. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
$2.49
2.28 €
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Choral TTBB
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Aaron Lee
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Omnia Mutantur
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J. Aaron Lee
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SheetMusicPlus
Omnia Mutantur (for SATB Choir, a cappella)
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.854066 Composed by Aaron L…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.854066 Composed by Aaron Lee. 20th Century,A Cappella,Classical,Contemporary,Contest,Festival. Octavo. 16 pages. J. Aaron Lee #460627. Published by J. Aaron Lee (A0.854066). Omnia Mutantur addresses the ever-present reality of life these days. Everything changes. However, this work intends to affirm for the listener that while things may change, we always adapt to keep up, and that nothing is ever truly lost to change. This work approaches the matter of change, perhaps ironically, via minimalistic techniques and an uplifting perspective. This song is an entirely secular work in Latin. It touches on some minimalist techniques and could be integrated into secondary school music lessons as a means of discussing minimalism and also as a means to introduce students to singing in Latin while avoiding religious ties. This work is written for SATB choir (a cappella) and is approximately 4.5 minutes in duration. The choral parts are largely diatonic and should be accessible to most audiences/ensembles. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
$2.49
2.28 €
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Choral SATB
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Aaron Lee
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Omnia Mutantur
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J. Aaron Lee
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SheetMusicPlus
Bagatelle
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1280231 Composed by Jane Stave-Viem…
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Piano Solo - Level 4 - Digital Download SKU: A0.1280231 Composed by Jane Stave-Viemeister. 21st Century,Classical,Contest,Festival. Score. 3 pages. Stave-Viemeister #871616. Published by Stave-Viemeister (A0.1280231). This hommage to Claude Debussy honors his use of the whole-tone scale and sense of mystery that occurs in many of his works.Bagatelle means a little nothing. There is no key signature. Rhythmically, Bagatelle explores a seemingly free rhythm at the opening but be sure to count to make sure it does sound free. In the middle section right hand expressive moments contrast with a steady ostinato in the left hand. The pace of the left hand supports the right hand searching for something!Be careful to observe everything that contributes to this little nothing.
$4.95
4.54 €
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Piano solo
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Jane Stave-Viemeister
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Bagatelle
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Stave-Viemeister
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SheetMusicPlus
Help Me Rhonda
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1460791
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1460791 By The Beach Boys. By Brian Wilson and Mike Love. Arranged by Will Corbin. Pop. 13 pages. Will Corbin #1039690. Published by Will Corbin (A0.1460791). This 1965 Beach Boys recording hit the top of the Billboard singles chart. Billboard called it an intriguing off-beat rouser, whatever that means.Not much to do with this, other than pass the melody around, and have it still feel like the Beach Boys. It's summertime-in-the-park fodder, nothing more.If you need alternative instrumentation, I'm happy to help. Contact me at wilcor@aol.com.
$15.00
13.74 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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The Beach Boys
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Help Me Rhonda
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Will Corbin
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SheetMusicPlus
Mas Que Nada
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - Digital Download SKU: A0.1390861 By Sergio Mendes. By Jorge Ben. Arranged by Christian Jenkins. 20th Century,Latin. Brass Band. 50 pages. Christian Jenkins #974399. Published by Christian Jenkins (A0.1390861). Mas Que Nada was originally composed in 1963 by Brazilian composer Jorge Ben and appeared on his debut album Samba Esquema Novo.  Translated literally, the title means “but nothingâ€, but in colloquial Brazilian Portuguese, is it used as an expression to disagree with someone.The song has been covered numerous times since its composition, most notably by Sérgio Mendes and The Black Eyed Peas.  It was voted by the Brazilian edition of Rolling Stone as the fifth-greatest Brazilian song and was inducted into the Latin Grammy Hall of Fame in 2013.
$34.95
32.02 €
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Sergio Mendes
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Mas Que Nada
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Christian Jenkins
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SheetMusicPlus
What Will We Say?
Cello,Piano,Steel Pan,Violin - Level 4 - Digital Download SKU: A0.1095566 Composed …
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Cello,Piano,Steel Pan,Violin - Level 4 - Digital Download SKU: A0.1095566 Composed by Aaron Gage. 20th Century,Chamber,Contemporary. 38 pages. Aaron Gage #699558. Published by Aaron Gage (A0.1095566). At the time this piece was conceived, the world had fallen into chaos. We were in the midst of a vast economic crisis leaving millions in poverty, racism had once again found its foothold in the foreground of US culture, climate change had decimated the west coast in flames while southern coastal cities were being bombarded with floods from storms. We have also been forced to see the ugliness of domestic terrorists establishing themselves in the hopes of hurting their fellow citizens. However, these issues pale in comparison to the utter devastation we have faced from COVID-19. As I write this note, we are just shy of nearly a quarter of a million people having senselessly died from COVID-19. The utter failure we’ve had in leadership and lack of empathy from our fellow citizens have caused countless families to now have empty seats at their table. There was no need for this. Hundreds of thousands of men, women, and children have died from means that could have been completely preventable. When I was asked to write this piece, I wanted to come up with a simple concept as an elegy to those lost to the virus. A simple question arose; What will we say? 50 years from now, how will we answer to those younger generations while we collectively sat by and did nothing to help each other? How are we going to excuse letting the rot that has sunk in go unpunished? How do we defend the indefensible? This question haunts me. The music you will hear channels my answer to that question. There is no true resolution. There is no happy ending. When we have finally moved on past this pandemic, we are still left in the wake of hundreds of thousands of dead citizens. One day it will hit us all how many lives we really lost. So I ask this; while you listen, reflect on every individual who suffered at the hands that did not act. Allow yourself to absorb the true gravity of what we have experienced. Give those victims a few minutes of your time. When the time comes for you to be asked, what will you say?
$19.99
18.31 €
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Aaron Gage
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What Will We Say?
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Aaron Gage
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SheetMusicPlus
The World is Too Big - Violin Book
Violin
Violin Solo - Digital Download SKU: A0.1014257 Composed by Michael Matlock. Contemp…
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Violin Solo - Digital Download SKU: A0.1014257 Composed by Michael Matlock. Contemporary,Folk. 12 pages. Michael Matlock #6853877. Published by Michael Matlock (A0.1014257). The World Is Too Big is a song cycle initially written for a performance at Earth Day 2017 by the TangleTown Trio. The song cycle has four tunes. Mother Earth, the first, is a humorous attempt to answer the question of what our relationship is with nature. Next is What Do You See When You See The Mountains? which asks us to look beyond the thing we’re looking at and see what it really means. This is followed by Behold The Mighty River, an Ogden Nash-y poem that says the opposite. Finally, the cycle ends with If I Had Just One Complaint, a total rip-off of a Stephen Sondheim tune I’m sure. Range is not specified, but this was origianlly performed by mezzo-soprano.This is *just* the violin book, FYI. If you want the full score, make sure you are looking at The World is Too Big with nothing appended to the title.
$2.00
1.83 €
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Violin
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Michael Matlock
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The World is Too Big - Violin Book
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Michael Matlock
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SheetMusicPlus
Safika: Three Tales of African Migration (string quintet)
Piano Quintet,String Ensemble Piano - Level 5 - Digital Download SKU: A0.928493 Com…
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Piano Quintet,String Ensemble Piano - Level 5 - Digital Download SKU: A0.928493 Composed by Bongani Ndodana-Breen. 20th Century,African,Contemporary. Score and parts. 93 pages. Ndodana-Breen #6746413. Published by Ndodana-Breen (A0.928493). Migration, dislocation and exile have always been key themes in the historical narrative of the Black experience in South Africa. These three pieces for string quintet are personal responses/reflections to the various journeys that affected and shaped the lives of many. It can be argued that to some extent, South Africa continues to live with the sociopolitical consequences of this history of migration and dispossession.The unifying factor in all those who were touched by these journeys is memory. Remembering the lives left behind, the people, the songs, the dances, the connection to the land. Time might wear away the detail and new experiences splinter entire memories to fragments but nothing is completely erased. A certain driving rhythm, a flash of timbre, a fragment of melody, a cadence, a turn of musical phrase, even a few dance steps. These stay within as faint echoes, repeated sequences sometimes layered over each other, stuttering, staggering or sometimes as clear lyrical songs and dances, vibrant as the day first experienced. Safika means we arrived in Xhosa and in the context of these pieces, is an allegorical terminus of these journeys where reflection, affirmation and restoration begins.
$120.00
109.94 €
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Bongani Ndodana-Breen
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Safika: Three Tales of African Migration
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Ndodana-Breen
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.98 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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