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You've selected:
Life Unfolding
Sheetmusic to print
15 sheet music found
<
1
Let's Bring Joy to Life
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.979243 Composed by Jeffrey Pettijoh…
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Piano Solo - Level 4 - Digital Download SKU: A0.979243 Composed by Jeffrey Pettijohn. Praise & Worship,Spiritual. Score. 6 pages. Jeffrey Pettijohn #6891225. Published by Jeffrey Pettijohn (A0.979243). The path to a life of consistently unfolding fulfillment is through music. But for the character in this piece, rediscovering that path, after falling into deep despair, takes the help of a few friends and one bass player.
$4.99
4.59 €
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Piano solo
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Jeffrey Pettijohn
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Let's Bring Joy to Life
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Jeffrey Pettijohn
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SheetMusicPlus
Life Unfolding
Choral Unison
Unison/Two-part chorus - Digital Download SKU: C7.CGA877 Composed by Helen Kemp. Ge…
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Unison/Two-part chorus - Digital Download SKU: C7.CGA877 Composed by Helen Kemp. General. Combined Choirs. With Vibraphone or handchimes (2 octaves). Sacred Anthem. Octavo. 12 pages. Chorister's Guild - Digital #CGA877. Published by Chorister's Guild - Digital (C7.CGA877). UPC: 749193006320.This stirring anthem based on Psalm 122 sounds difficult but is easier than it sounds. Children's voices imitate the adult sopranos in the opening and closing sections in a quasi Renaissance style supported by large blocked chords played by handbells and organ. The more elaborate middle section is sung primarily by the adult choir and features interesting rhythmic inflections and colorful key relationships.
$2.10
1.93 €
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Choral Unison
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Helen Kemp
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Life Unfolding
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Chorister's Guild - Digital
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SheetMusicPlus
Stay Still
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1391501 By Cristian Vivlvaid. By Cr…
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Piano Solo - Level 3 - Digital Download SKU: A0.1391501 By Cristian Vivlvaid. By Cristian Vivaldi. Arranged by Cristian Vivaldi. Classical,Contemporary,Film/TV,New Age. Score. 3 pages. Cristian Vivaldi #975038. Published by Cristian Vivaldi (A0.1391501). Stay Still is a mesmerizing solo piano composition that beckons listeners to embrace the tranquility of the present moment. With its serene melody and graceful rhythms, this piece creates a peaceful atmosphere ideal for reflection and introspection. Each note gently encourages stillness, inviting listeners to immerse themselves in the beauty of life unfolding in the here and now. Perfect for background piano music during quiet moments of reading or concentration, Stay Still provides a soothing soundtrack for finding calm amidst the chaos of everyday life.
$1.99
1.83 €
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Piano solo
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Cristian Vivlvaid
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Stay Still
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Cristian Vivaldi
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SheetMusicPlus
Pearl for Brass Trio - Trumpet, Horn and Tuba by Eddie Lewis
Brass Ensemble Horn,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.750232 Compos…
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Brass Ensemble Horn,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.750232 Composed by Eddie Lewis. Contemporary. Score and parts. 19 pages. Tiger Music #3007665. Published by Tiger Music (A0.750232). Pearl is the only composition the composer has ever written about a person. He has written works that tell stories about people. He has dedicated compositions to people. He has been inspired by people, but never composed anything that represents someone's personality the way Pearl does. Composed in October 2005, this work is the musical painting of the woman who would become the composer's wife almost two years later. Each musical aspect of the two movements symbolizes a different characteristic of Pearl's personality. Woven into the music is her quiet, caring, devoted nature, her love for God, her passion for the things she believes in, her wisdom, her logical and analytical approach to life, and her care-free disregard for the pressures that force many other women to be less than true to themselves. All of these facets of Pearl are portrayed through symbolism, atmosphere, and mood. The first movement is best described as unfolding. In an unassuming way, the piece unfolds like a delicate blossom confidently moving from bud to full bloom. This unfolding represents the gradual discovery of the depth of a personality as a relationship grows. The second movement represents the patient waiting associated with allowing a relationship to grow and mature. The subtle use of silence is symbolic of this patience, and adds richness to the piece. The debut performance of this remarkable composition formed part of the October 2008 Faculty Recital at Rice University, Houston, Texas. Pearl is appropriate for college or professional level musicians. As a serious work, Pearl makes an excellent recital piece. The unusual brass trio instrumentation for this work is an added bonus and makes the piece ideal for integration in a brass quintet repertoire, as it provides a rest opportunity for the trombone and one of the trumpets.The MP3 in the sample is only the first movement.
$17.76
16.35 €
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Eddie Lewis
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Pearl for Brass Trio - Trumpet, Horn and Tuba by Eddie Lewis
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Tiger Music
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SheetMusicPlus
Almost May Score and Parts
String Quartet: 2 violins, viola, cello
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Dow…
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
23.01 €
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String Quartet: 2 violins, viola, cello
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
Almost May Lead Sheet
C Instruments
C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi…
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C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$2.99
2.75 €
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C Instruments
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Heidi Savoie
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Almost May Lead Sheet
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Heidi Savoie
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SheetMusicPlus
Extinction
Choral SATB
Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1215070 Composed by…
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Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1215070 Composed by Adrienne Inglis (ASCAP). 20th Century,A Cappella,Classical. Octavo. 30 pages. Adrienne Inglis (ASCAP) #811933. Published by Adrienne Inglis (ASCAP) (A0.1215070). Help fight the extinction crisis! Here's an important work for our times that's perfect for your nature/environmental program. It's an SATB (some divisi) a cappella choral piece with option soundscape, but stands alone with the singers making some nature sounds.Extinction by Adrienne Inglis (ASCAP)Soundscapes arranged by Seylon Stills in the audio sampleText : An Extinction by Kim Stafford (https://www.kimstaffordpoet.com) The poem “An Extinction†© 2022 Kim Stafford is unpublished and used with permission. An Extinction by Kim Stafford Not just the creature gone, not just the tattered feathers, dry leaf pressed thin. Not just the rendering from memory, not just the lost-list growing longer, a shape and hue from the field guide fled, not just a name that meant a life, a syllable that once was teeming glory, one bright flurry shimmering the sun. No. No. No. It’s one name gone from our happiness, one breath lost from our respiration, one thread frayed from our salvation, one plank gone from the ark that carried us. Be the songbird now and testify. Be the butterfly hinge of gold. Be the one with open hands these wonders to behold. Don’t let them fly. Be the songbird now and testify. Program note — Commissioned by Inversion Ensemble for its February 2023 Planet Home concert, Extinction sets the poem “An Extinction†(2022) by Kim Stafford for SATB mixed chorus. The three stanzas of the poem get distinct musical treatment: the first some text-painting and dissonance, the second rhythmic parts underpinning canonic melodic lines, the third a rich chorale. During my work on this piece, I happened to be traveling by train. The pitches of the train whistle snuck their way into the score as a dissonant chord. A nature soundscape may sometimes accompany this piece, although the tongue click sounds create a bit of their own aural ecosystem. Drawing attention to the unfolding catastrophe of mass extinction, Extinction hopes to inspire humans to action to prevent further loss of species biodiversity.
$1.99
1.83 €
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Choral SATB
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Adrienne Inglis
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Extinction
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Adrienne Inglis
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SheetMusicPlus
Pure Imagination
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.844241 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.844241 Composed by Anthony Newley and Leslie Bricusse. Arranged by Gerhard Guter. Film/TV. Score and parts. 101 pages. Gerhard Guter #3874875. Published by Gerhard Guter (A0.844241). Gene Wilder’s 1971 performance of this song in Willy Wonka & the Chocolate Factory won the hearts of boys and girls dreaming of endless worlds of candy and fantasy. Gerhard Guter’s swinging jazz waltz rendition for big band with solo alto or bass vocalist breathes new life into this beloved tune. The introduction sets up a repeating harmonic pattern, which returns at various points during the arrangement, which gradually picks up steam and swing, unfolding in a lush cadence as the vocalist launches into the poignant lyric. Saxophone writing draws upon the usage of trills, across-the-barline quadruplets, and harmonized flourishes. Unison piano and (optional) vibraphone parts will bring to mind the musical code for entering Willy Wonka’s Chocolate Room. The orchestration benefits from a variety of dynamic shadings and the use of bucket mutes for the trombones and cup mutes for the trumpets. Dramatic moments are emphasized with mallets. Solo changes are provided for scat vocal, vibes, guitar, and piano. Vocal (alto or bass), Five saxes (2 altos, 2 tenors, 1 bari), eight brass, piano/bass/drums, and optional guitar and vibraphone. Top brass notes are C6 trumpet and A4 trombone. Demo produced, programmed, and performed by Gerhard Guter. Vocal performed by Aimee Nolte.
$69.99
64.45 €
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Jazz Ensemble
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Anthony Newley and Leslie Bricusse
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Pure Imagination
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Gerhard Guter
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SheetMusicPlus
Serpents of Wisdom
French Horn and Piano
Horn and piano - Digital Download SKU: S9.Q43081 For horn in F and piano. Co…
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Horn and piano - Digital Download SKU: S9.Q43081 For horn in F and piano. Composed by John Casken. This edition: Sheet music. Downloadable. Duration 11 minutes. Schott Music - Digital #Q43081. Published by Schott Music - Digital (S9.Q43081). The title of this piece comes from ‘Celtic Cross’ by Norman MacCaig, a poem that brings to life the symbols of an earlier time, carved in stone, entwined and plaited in abstract forms. The idea of a coiling serpent and the image of the coiled horn also came together in my mind. The opening phrase of the piece is responsible for much of the musical material for the whole piece, a strong and vibrant phrase that I wanted to capture something of the essence of these noble creatures on Celtic crosses. The idea of plaiting and entwining plays an important part in the unfolding of the piece. John Casken.
$16.99
15.64 €
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French Horn and Piano
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John Casken
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Serpents of Wisdom
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Schott Music - Digital
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SheetMusicPlus
Le grain léger
Cello, Piano
Flute, cello and piano - difficult - Digital Download SKU: S9.Q16961 For Flute (…
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Flute, cello and piano - difficult - Digital Download SKU: S9.Q16961 For Flute (also Flute in G), Violoncello and Piano. Composed by Thierry Pecou. This edition: score and parts. Downloadable, score and parts. Duration 10 minutes. Schott Music - Digital #Q16961. Published by Schott Music - Digital (S9.Q16961). This diptych consists of two brief contrasting movements which however have a common focus on the amalgamation and fusion of tonal colour in the three instruments.The harmonic foundations of the first movement are provided by ring modulation spectrums although these are also based on equal-tempered tuning in semitones. In the manner of a deep intake of breath, life is breathed into the first movement through numerous clashes, contrasting registers and runs at lightning speed.The second movement has an unmistakable focus on tonal colouring and the concept of echo and reverberation complemented by simple acoustic effects, unfolding a substantially extended tonal spectrum in continuation of the first movement.
$29.99
27.62 €
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Cello, Piano
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Thierry Pecou
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Le grain léger
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Schott Music - Digital
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SheetMusicPlus
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson …
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
23.9 €
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Choral SATB
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson …
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95
18.37 €
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Choral SATB
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Cowboy Songs of the American Southwest [TTBB]
Choral TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.891193 Composed by Traditi…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.891193 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octavo. 24 pages. Dandelion Music Press #3103597. Published by Dandelion Music Press (A0.891193). This fun-to sing TTBB a cappella concert arrangement set of regional folksongs are evocative of barbershop, concert, and a cappella styles and utilize some fun extended techniques in the second movement. Also appropriate for a versatile barbershop or men's quartet, upper HS level or above.These four cowboy songs that make up the song cycle Cowboy Songs of the American Southwest are among the nearly 3,000 field recordings recorded in the U.S. Southwest, Mexico and Spain collected by John Donald Robb over 40 year while at the University of New Mexico. These recordings preserve many of the musical traditions of these areas, especially New Mexico and Southern Colorado, and include Native American, Hispano, Mexican and African American music, as well as railroad and cowboy songs, fiddle music and the music of festivals and fiestas.I. The Call of the Range- Evocative of a carefree, lone cowboy singing while strumming his ukulele. Barbershop harmonies, similar to ukulele harmonies, suggest a personification of both the ukulele and the rangeland itself as a character in the unfolding drama of the seemingly solitary cowboy.II. I'm Sad and I'm Lonely- Whispered syllables and whistles evoke percussion and a bowed saw in this despondent tale of unrequited love and solitude.III. Wild Horse of the Desert- The melody fights with the downbeat to mimic the wild horse fighting against land rights and fencing.IV. When Cockle Shells Turn Silver Bells- An overly carefree, lighthearted shrug at lost love to embrace the lone cowboy lifestyle.Due to current restrictions of the John Donald Robb field recordings housed at the University of New Mexico, movements I. The Call of the Range and III. Wild Horse of the Desert are offered with permission and without charge with the purchase of public domain arrangements of II. I'm Sad and I'm Lonely and IV. When Cockle Shells Turn Silver Bells forming an entire song cycle. Movements II. and IV. are also available for purchase individually.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$4.20
3.87 €
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Choral TTBB
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Traditional
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Cowboy Songs of the American Southwest [TTBB]
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Dandelion Music Press
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SheetMusicPlus
When Cockle Shells Turn Silver Bells from "Cowboy Songs of the American Southwest" [TTBB]
Choral TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.891196 Composed by Traditi…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.891196 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octavo. 5 pages. Dandelion Music Press #3103605. Published by Dandelion Music Press (A0.891196). Movement four of four Cowboy Songs of the American SouthwestThis fun-to sing TTBB a cappella concert arrangement set of regional folksongs are evocative of barbershop, concert, and a cappella styles and utilize some fun extended techniques in the second movement. Also appropriate for a versatile barbershop or men's quartet, upper HS level or above.These four cowboy songs that make up the song cycle Cowboy Songs of the American Southwest are among the nearly 3,000 field recordings recorded in the U.S. Southwest, Mexico and Spain collected by John Donald Robb over 40 year while at the University of New Mexico. These recordings preserve many of the musical traditions of these areas, especially New Mexico and Southern Colorado, and include Native American, Hispano, Mexican and African American music, as well as railroad and cowboy songs, fiddle music and the music of festivals and fiestas.I. The Call of the Range- Evocative of a carefree, lone cowboy singing while strumming his ukulele. Barbershop harmonies, similar to ukulele harmonies, suggest a personification of both the ukulele and the rangeland itself as a character in the unfolding drama of the seemingly solitary cowboy.II. I'm Sad and I'm Lonely- Whispered syllables and whistles evoke percussion and a bowed saw in this despondent tale of unrequited love and solitude.III. Wild Horse of the Desert- The melody fights with the downbeat to mimic the wild horse fighting against land rights and fencing.IV. When Cockle Shells Turn Silver Bells- An overly carefree, lighthearted shrug at lost love to embrace the lone cowboy lifestyle.Due to current restrictions of the John Donald Robb field recordings housed at the University of New Mexico, movements I. The Call of the Range and III. Wild Horse of the Desert are offered with permission and without charge with the purchase of public domain arrangements of II. I'm Sad and I'm Lonely and IV. When Cockle Shells Turn Silver Bells forming an entire song cycle. Movements II. and IV. are also available for purchase individually.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
1.93 €
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Choral TTBB
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Traditional
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When Cockle Shells Turn Silver Bells from "Cowboy Songs of the American Southwest" [TTBB]
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Dandelion Music Press
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SheetMusicPlus
I'm Sad and I'm Lonely, from "Cowboy Songs of the American Southwest" [TTBB]
Choral TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.891194 Composed by Traditi…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.891194 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octavo. 6 pages. Dandelion Music Press #3103603. Published by Dandelion Music Press (A0.891194). Movement two of four Cowboy Songs of the American SouthwestThis fun-to sing TTBB a cappella concert arrangement set of regional folksongs are evocative of barbershop, concert, and a cappella styles and utilize some fun extended techniques in the second movement. Also appropriate for a versatile barbershop or men's quartet, upper HS level or above.These four cowboy songs that make up the song cycle Cowboy Songs of the American Southwest are among the nearly 3,000 field recordings recorded in the U.S. Southwest, Mexico and Spain collected by John Donald Robb over 40 year while at the University of New Mexico. These recordings preserve many of the musical traditions of these areas, especially New Mexico and Southern Colorado, and include Native American, Hispano, Mexican and African American music, as well as railroad and cowboy songs, fiddle music and the music of festivals and fiestas.I. The Call of the Range- Evocative of a carefree, lone cowboy singing while strumming his ukulele. Barbershop harmonies, similar to ukulele harmonies, suggest a personification of both the ukulele and the rangeland itself as a character in the unfolding drama of the seemingly solitary cowboy.II. I'm Sad and I'm Lonely- Whispered syllables and whistles evoke percussion and a bowed saw in this despondent tale of unrequited love and solitude.III. Wild Horse of the Desert- The melody fights with the downbeat to mimic the wild horse fighting against land rights and fencing.IV. When Cockle Shells Turn Silver Bells- An overly carefree, lighthearted shrug at lost love to embrace the lone cowboy lifestyle.Due to current restrictions of the John Donald Robb field recordings housed at the University of New Mexico, movements I. The Call of the Range and III. Wild Horse of the Desert are offered with permission and without charge with the purchase of public domain arrangements of II. I'm Sad and I'm Lonely and IV. When Cockle Shells Turn Silver Bells forming an entire song cycle. Movements II. and IV. are also available for purchase individually.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
1.93 €
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Choral TTBB
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Traditional
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I'm Sad and I'm Lonely, from "Cowboy Songs of the American Southwest" [TTBB]
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Dandelion Music Press
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SheetMusicPlus
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